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. 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.
  2. Brad's Status
    Every creative problem White gives himself receives the most boring, trite solution, each chance for artistry stifled by mediocrity.
    • 70 Metascore
    • 38 Critic Score
    The Bikeriders
    Unfortunately, Nichols’ interpretation feels like a blind wandering through uncharted land, populated by a host of chiseled yet undeveloped characters. The Bikeriders is a shallow parade of cool images.
  4. The Black Phone
    Though its actual storytelling is pretty arbitrary, The Black Phone has the emotional simplicity of a children’s film, wearing its grit like makeup.
  5. 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.
  6. Peter Pan & Wendy
    I can’t imagine any child actually enjoying this film, let alone a child who is familiar with and fond of the original animated adaptation.
  7. John and the Hole
    A completely detached exercise in bewilderment that’s enigmatic nature comes off less Lynchian and more “unfinished scriptian,” director Pascual Sisto’s feature debut aims for intrigue but settles comfortably in mediocrity.
    • 60 Metascore
    • 21 Critic Score
    Stillwater
    As the film trickles toward its howler of a conclusion, any hopes McCarthy might somehow salvage this story evaporate. Stillwater sinks like a stone.
  9. Being the Ricardos
    There’s a good movie baked into Being the Ricardos’ 131 minutes. It’s about 90 minutes long, maybe a little less. The remaining 41 minutes comprise an Aaron Sorkin movie, and like too much cream in a beautifully fried donut, they weigh down the total package with needless fat: Talking heads, flashbacks and archival footage.
  10. On the Basis of Sex
    We’re typically never trusted to accept the reality of an icon’s life for what it is rather than what media consultants want it to exemplify. What the film’s real failing amounts to is any lack of interest in Ginsburg’s true superpower: Her inhuman, sleepless drive to do the work.
  11. Dalíland
    The worst choice Mary Harron makes in Dalíland is relying on convention to make an end-stage portrait of an unconventional figure.
  12. Upgraded
    Ana may be attempting to climb the class ladder, but the movie moves between classes with a freedom that feels weakly imagined.
    • 58 Metascore
    • 35 Critic Score
    Brainwashed: Sex-Camera-Power
    The most galling, offensive thing about Brainwashed is how poorly it demonstrates a point that should have been so very easy to prove.
  14. Jumanji: The Next Level
    Just like with Welcome to the Jungle, the action is serviceable, but lacks genuine thrills.
  15. How It Ends
    The problem dogging the film from the start is the absence of insight. Nothing that Wein and Lister-Jones have to say about facing the past, making peace with yourself and with the people who psychologically and emotionally scarred you over the course of your life, or even their most central concern, death, turns out to be worth hearing.
    • 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.
  17. Mr. Harrigan's Phone
    Those unfortunate enough to populate Mr. Harrigan’s Phone must be as dumb as the movie thinks we are. This low opinion of its audience is apparent in every step of its narrative and in some of its stranger creative choices.
  18. Wildcat
    Regrettably, a gross number of missteps overshadow the Hawkes’ good intentions with this film. Even without Maya Hawke’s frumpy hag drag as O’Connor, complete with too-large dentures and an unfortunate wig, the lack of creative risk taken by the filmmakers, as well as the lack of research done by the team, sinks Wildcat before it gets started.
  19. The Adam Project
    As with Free Guy, Reynolds and Levy have made a movie aimed at the dead center of mainstream geek culture, designed to be described as having so much heart—even though it’s as smooth and featureless as a Funko Pop.
  20. 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.
  21. Good on Paper
    Good on Paper wasn’t that good as a stand-up segment; as a movie, it should be permanently erased from the memories of anyone unlucky enough to have seen it.
    • 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.
  23. The Tender Bar
    As mired as it is in identity confusion, cheeseball sentimentality and jaundiced camera filters, The Tender Bar could’ve been something if it had a purpose.
  24. 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.
  25. Malcolm & Marie
    It’s less a story and more a fragile white male provocation, and it’s repulsive.
    • 52 Metascore
    • 34 Critic Score
    It's a Wonderful Knife
    Festive horror is a notorious subgenre, with last year’s runaway success Violent Night scratching this itch for many—to say nothing of classics like 1974’s Black Christmas. It’s A Wonderful Knife sports an equally clever parody title, but has little else going for it, coasting on the premise of Frank Capra’s classic and failing to stand out among its predecessors.
  27. The United States vs. Billie Holiday
    The overlong and tedious film opts for rudimentary Oscar-bait trappings and a crudely voyeuristic portrayal of the renowned jazz singer—a commanding performance by first-time actress Andra Day notwithstanding.
  28. 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.
  29. Run Rabbit Run
    Run Rabbit Run never gets past the sensation of being a Mad Libs horror movie, where those blank spaces are filled in with the most obvious tropes.
  30. 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.
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