V.F. critic melvillmatic calls Yesterday 'somehow both too basic and too rich.' Read his full review:
), feels like a Boyle/Curtis production in name only. Sure, there are a few instances of Boyle’s usual hyper-visual flair, an odd-angle shot and fantasy sequence or two. And sure, Curtis injects the script with hints of his trademark, cloying-but-low stakes lovebug wit. We all know we’re here for a romance. In this case, it’s between Jack and Ellie Appleton , his manager, roadie and #1 fan—who, as the movie takes pain to detail, can’t see herself sticking around once he makes it big.
He also lives in a world which posits that the Beatles’ music, made today, would strike the same chord it did at the height of Beatlemania. The last image of the movie is even one of those famed shots showing a row of open-mouth teen girls at a Beatles concert—the kind of fanaticism we’ve become inured to, but which was once a powerful, tangible social force.
In another scene, Jack performs “Back In the U.S.S.R.” while on tour with Ed Sheeran in modern-day Russia—and you realize that without knowing the Beatles’ song, the reference to the U.S.S.R. seems … complicated.
There’s no danger here, in other words, even as the movie sets itself up for plenty. There’s also less of the genuine back-and-forth, high and low, dense, complex, lusty, complex romance than adults should want to see in their movies. That, I guess, is the current prerogative of contemporary rom com filmmaking—and it makes a “cameo” late in the movie, which I won’t spoil, all the more ironic. Ultimately,is a victim of the amnesia it inflicts upon its characters.
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