Emily Yoshida

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For 159 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 0 points lower than other critics. (0-100 point scale)

Emily Yoshida's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dead Slow Ahead
Lowest review score: 0 The Emoji Movie
Score distribution:
  1. Positive: 90 out of 159
  2. Negative: 17 out of 159
159 movie reviews
    • 66 Metascore
    • 60 Emily Yoshida
    Here We Go Again ties up these two wackadoo films’ hijinks in a very sincere bow. After all, Mamma Mia is a mom movie, in every way imaginable.
    • 54 Metascore
    • 60 Emily Yoshida
    Ultimately, Hotel Transylvania 3 is for very young children, and God love it for that.
    • 47 Metascore
    • 50 Emily Yoshida
    The problem isn’t Reiner taking dramatic liberties with the facts, it’s that his toolbox for doing so hasn’t changed since the mid-’90s.
    • 81 Metascore
    • 80 Emily Yoshida
    With a light touch but deep reserves of respect for fans both old and new Ryuichi Sakamoto: Coda is an extremely fitting portrait of the influential composer. There’s an air of patience that presides over director Stephen Schible’s footage, even during a period that presents a lot of tumultuous questions for his seemingly unflappable subject.
    • 61 Metascore
    • 70 Emily Yoshida
    When Day of the Soldado truly wallows in violence, it does so exquisitely, with the kind of hopelessness that film violence, especially around this subject matter, should convey. But it also destabilizes any marketable attempts at heroism or character investment.
    • 56 Metascore
    • 50 Emily Yoshida
    Tag
    The doubt about what is real and what isn’t has permeated so much of the film that when things take a turn for the serious in the final act, we the audience can’t even quite believe what we’re seeing, until the credits roll and you shrug to yourself, “Huh, I guess it was for real.” That’s a weirdly muted note to end such an otherwise over-the-top — conceptually and physically — comedy.
    • 57 Metascore
    • 60 Emily Yoshida
    Ultimately, in all its artifice and haphazard but enthusiastic invention, Hotel Artemis makes me a bit nostalgic for French ’90s genre fare of Jean-Pierre Jeunet and Marc Caro and, of course, Luc Besson, embracing their daffiness and dreaminess with an somewhat counterintuitive, almost naïve lack of vanity.
    • 62 Metascore
    • 60 Emily Yoshida
    Alex Strangelove is a little stylistically unambitious, nor is it terribly compelling as a romance — who Alex ends up with is ultimately beside the point.
    • 61 Metascore
    • 40 Emily Yoshida
    I left Ocean’s 8 more convinced than ever that no amount of fierce, fantastic female ensembles can overcome the mediocrity of a dull male director.
    • 54 Metascore
    • 40 Emily Yoshida
    The experience of watching it, especially given its dreamlike unreality and head-scratching punnery (this is a deeply unfunny movie) is like listening to a doddering old man for whom every story — about art, politics, local goings on — ends up being about how every woman is an evil witch that can’t be trusted.
    • 93 Metascore
    • 100 Emily Yoshida
    Every scene adds another onion-skinlike layer, adding density and mass so slowly that you hardly notice the emotional weight of it all until it is suddenly overwhelming.
    • 56 Metascore
    • 60 Emily Yoshida
    Adrift is enough of a boilerplate piece of survival drama that you know to expect those beats more or less coming on schedule, but Woodley makes it more emotionally satisfying than it would be otherwise.
    • 66 Metascore
    • 80 Emily Yoshida
    A great and grimy little screw-turner of sci-fi schlock, the kind that they truly don’t make anymore, the kind that would make Carpenter and Cameron proud.
    • 60 Metascore
    • 80 Emily Yoshida
    It’s remarkable how engaging and light on its feet the director and cast are able to keep this subject matter, how much permission he gives them to f*ck up and try again.
    • 67 Metascore
    • 60 Emily Yoshida
    It feels like the self-admittedly emotionally bottled Talley is ready to talk about all of it. It’s too bad his biographer is less so.
    • 56 Metascore
    • 30 Emily Yoshida
    Ibiza doesn’t have the strength of wit and character to suffice as a hangout vacation movie, and it has zero idea how to be a romantic comedy, either. It’s not a movie, it’s Netflix.
    • 75 Metascore
    • 60 Emily Yoshida
    Two biographical documentaries in, and it still feels like we’re in need of a Houston film that digs into her music first, and the hows and whys of its enduring power.
    • 62 Metascore
    • 60 Emily Yoshida
    Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.
    • 62 Metascore
    • 40 Emily Yoshida
    Unfortunately McEwan, adapting his own work, and first-time director Dominic Cooke, have a hard time rendering the touchy, interior subject matter cinematic; a potentially promising story of an emotional and physical impasse is flattened so much as to be offensive.
    • 89 Metascore
    • 70 Emily Yoshida
    There is so much fascinating, underplayed tension running through Burning.... I was a little let down, then, when Burning lost its steam in its second half.
    • 53 Metascore
    • 70 Emily Yoshida
    As it turns out, Book Club is only tangentially “about” the Fifty Shades trilogy, and that’s what makes it so smart.
    • 59 Metascore
    • 60 Emily Yoshida
    Like any conspiracy theorist, you sense that landing on an actually airtight unified theory would almost spoil the fun for Mitchell.
    • 41 Metascore
    • 40 Emily Yoshida
    The film’s most offensive qualities have nothing to do with its grotesque violence and displays of human mutilation, but its terminal navel-gazing and reductive, borderline harmful ideas about art.
    • 75 Metascore
    • 90 Emily Yoshida
    BlacKkKlansman is a nuanced story of race in America, but Lee doesn’t take any chances with vagueness or ellipses, nor should he. As much as BlacKkKlansman plays with the mechanics of blaxploitation fantasy, it doesn’t leave one with any question about what’s real.
    • 80 Metascore
    • 70 Emily Yoshida
    By the end, the transformation of China is more compelling than Qiao’s love for Bin, but watching both unfold over time is continually thought-provoking, given the ephemerality of whole cities, much less love affairs.
    • 85 Metascore
    • 90 Emily Yoshida
    I was shocked to discover that I was actually … touched. Climax is a small miracle, and if this is Noé going soft (for him, of course), that might actually be a very good thing for the movies.
    • 91 Metascore
    • 90 Emily Yoshida
    It’s visually stunning, passionate, wistful, and thoughtful in equal measure.
    • 62 Metascore
    • 80 Emily Yoshida
    Lu Over the Wall...is every bit as imaginative as the rest of his body of work, but whereas previous Yuasa works would veer from ominous to outrageous to sweet to explicit to metaphysical, Lu is perfectly happy to stop at sweet. And so am I, quite frankly: Yuasa can be really good at sweet, something that’s often overshadowed by his more mile-a-minute tendencies.
    • 67 Metascore
    • 80 Emily Yoshida
    The mystery becomes popcorn-chompingly compelling, each new piece of information adding shading and dimension to the true shape of the family. Nobody is above suspicion or below empathy.
    • 42 Metascore
    • 70 Emily Yoshida
    By shifting its perspective and updating its anxieties, Overboard is a decent-to-great model for a rom-com renaissance, the kind of film that sends one out on a high note great enough to blur many of the blemishes that have come before.

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