Paste Magazine's Scores

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For 2,243 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Young Frankenstein
Lowest review score: 7 Reagan
Score distribution:
  1. Positive: 1,591 out of 2243
  2. Mixed: 515 out of 2243
  3. Negative: 137 out of 2243
2243 movie reviews
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  1. Playdate
    No one escapes from this mess looking good, although to his credit, Ritchson is at least giving it a titanic effort.
  2. Him
    Tipping approaches this dilemma but is too intellectually distracted to focus on the raw complexities that would otherwise give it shape or resonance. He opts for spectacle, which wears thin fast.
  3. Smurfs
    Who could have guessed that a simple Smurfs reboot would constitute such an unholy mess?
  4. Brick
    Sadly, even a perfectly workable premise needs engaging writing, directing and performances to bring it to life, and in this capacity, Netflix’s new feature Brick is as utterly inert as its title–likewise reused from Rian Johnson’s far more interesting high school neo-noir from 2005.
  5. G20
    Before we get to its many faults, it’s worth noting G20 gets one part of its concept correct: casting Viola Davis as the President. Getting the vibes right when casting your President is the most important first step when making a film in this subgenre.
  6. Captain America: Brave New World
    Directed by Julius Onah, Brave New World is as visually lifeless as the most lifeless MCU thrillers, marred by needless overcutting, flimsy digital backdrops and stilted composition; thematically, it says nothing confidently and even less coherently.
  7. Flight Risk
    Flight Risk feels like a free-floating outlet for a little bit of rage and a little bit of shtick, both Mad Mel standbys that he seems unwilling to really examine, within these confines or elsewhere.
  8. Red One
    If only Red One had a bit more respect for its audience. We can all use a reaffirming message this holiday season, but this stuffs stockings with little more than hot air. I’d have preferred some coal. There’s at least a use for that.
  9. Apartment 7A
    A discarded made-for-TV sequel to Rosemary’s Baby in the ‘70s is now just what most mainstream American filmmaking is, summed by prequel Apartment 7A: something stupid, easy and familiar to watch in the comfort of one’s home, confined to the medium that had once threatened to overtake cinema and is now doing so again all these years later.
  10. The Substance
    An overuse of stale horror conventions in an already predictable plot—combined with decades-old, thoroughly unchallenging ideas about women’s relationships to their bodies—leads to a film that claims to support its protagonist, while treating her like the butt of the joke at every turn.
    • 22 Metascore
    • 7 Critic Score
    Reagan
    It fancies itself to be a likeness of reality but is simultaneously unapologetic about mythologizing its central figure, obfuscating Reagan’s sins along the way and refusing any narrative that doesn’t paint him as the Christian, capitalist savior of the family unit.
  12. The Union
    The movie seems to pre-suppose that in our desperation to spend time with Wahlberg and Berry, any empty stupid simulacra will suffice as an excuse.
    • 53 Metascore
    • 24 Critic Score
    It Ends with Us
    It Ends with Us is in deep solidarity with its source material when it comes to constructing a work that is uniquely bland and unmemorable.
  14. Borderlands
    At Borderlands’ best, we see some nice concept art, divorced from the movement or humanity of cinema. At its worst, we see some poor saps clearly wandering through unreality, stuck in a CG hackjob not quite as convincing as a Spy Kids sequel.
    • 56 Metascore
    • 25 Critic Score
    Deadpool & Wolverine
    Deadpool & Wolverine is another mind-numbingly corporatized CGI fest, divorced from any true emotional stakes. It’s a picture that would rather tell you how to feel than make you feel.
  16. Despicable Me 4
    Despicable Me 4 loses focus like a golden retriever in a Petco plushie aisle, splitting characters into bottled subplots that can only be addressed in single-file order.
  17. Trigger Warning
    The veteran-comes-home revenger Trigger Warning is thoroughly idiotic and deathly slow, filled with so much ugly camp that it could stand in as the first Lifetime Original action movie.
  18. Psycho Therapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer
    It’s a shame, because the idea of a serial killer approaching his work with a kind of dutiful, world-weary professionalism is funny enough – maybe only comedy-sketch funny, but then again, The Shallow Tale produces a profound longing for the number of laughs that could sustain a five-minute sketch.
  19. Atlas
    AI may not be advanced enough to make a movie even as crappy as Atlas, but in the meantime, it seems like autocomplete is having a go at it.
  20. Unfrosted
    If there’s one apt element Seinfeld and company bring to Unfrosted, it’s that they knowingly treat it like a bunch of silly bullshit.
  21. Boy Kills World
    Overlong and overstimulating, the entire film is like a giant, immersive eyesore.
  22. DogMan
    Compounded with dull plotting and a truly uninspired protagonist arc, Dogman is a curiosity of a comeback film that only makes you consider the virtues of director jail.
  23. Ghostbusters: Frozen Empire
    Ghostbusters: Frozen Empire doubles down, fully committing to its existence as a cynical nostalgia raid masquerading as a movie.
  24. Sleeping Dogs
    Sleeping Dogs winds up playing like a low-rent Saw sequel without the elaborate traps or gore. It’s all bad cops and worse twists, turning the fragility of human memory into a cheap trick.
  25. Imaginary
    A horror movie so derivative that it becomes uniquely terrible.
  26. Upgraded
    Ana may be attempting to climb the class ladder, but the movie moves between classes with a freedom that feels weakly imagined.
  27. Marmalade
    Marmalade is the kind of just okay, middle-of-the-road, nearly inventive but still mostly derivative indie that at least has the decency to be only 90 minutes.
  28. Suncoast
    While there is a literal amount of truth running through the semi-autobiographical Suncoast, its glossy, uncertain cutesiness is as fake as Ron DeSantis’ height.
  29. He Went That Way
    Surely a short film interview would have been more interesting, and engaging, than He Went That Way. It’s the kind of story that’s undeniably fascinating, but so bare-bones as a screenplay that it needs a little something more if it’s going to work, padded out either in the director’s style or in the writer’s script.
  30. Rebel Moon Part 1: A Child of Fire
    By the time the credits rolled, I realized I don’t think I’d ever watched a movie this long that still felt so brief and bewilderingly abridged; where so much happened and yet nothing happened at all.
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