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 3.3 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. Dolittle
    Kids deserve better entertainment than Dolittle. They deserve not to have their intellect insulted with half-assed celebrity vocal cameos and a plot that concludes not with a bang, but with a fart joke. Neither Gaghan, nor his ensemble, nor Universal have an excuse. Downey doesn’t either.
  2. Space Jam: A New Legacy
    The story isn’t necessarily awful, but it’s mostly boring, stretching itself out to an unwieldy 115 minutes.
    • 44 Metascore
    • 25 Critic Score
    Pain Hustlers
    There’s not anything in Pain Hustlers that’s worth your valuable time. Better-told versions of its story abound. More thoughtful takes on the opioid industry and the harm it causes everyday people are plentiful.
  4. About My Father
    Beyond the tepid cultural commentary, the film has few other redeeming qualities.
    • 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.
  6. 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.
  7. 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.
  8. Dalíland
    The worst choice Mary Harron makes in Dalíland is relying on convention to make an end-stage portrait of an unconventional figure.
  9. Dear Evan Hansen
    I could dig into any number of the movie’s unfortunate choices, bad decisions or downright detestable elements—sprinkling in faint praise like, hey, the Tony-winning Platt might be acting through five layers of bullsh*t, but he can still sing—and I’d still never capture all the reasons Dear Evan Hansen fails.
    • 38 Metascore
    • 22 Critic Score
    Mile 22
    The only explanation for such shoddy plotting is that this is the first in a planned franchise, but Mile 22 gives us absolutely no reason to want to return to the world of Jimmy and his war games, an apocalyptic hellscape protected by a guy who cares about nobody and is fine with it, because nobody cares about him.
  11. The Book of Henry
    The Book of Henry means well, but it doesn’t do well. It does incoherent pastiche and self-congratulatory pap instead.
  12. Mafia Mamma
    Even in Kristin’s quietest, most contemplative moments, Collette can’t stop bugging her eyes or yanking down her mouth – which, to be fair, is a natural reaction to being repeatedly poisoned over the course of 101 endless minutes.
  13. The Unforgivable
    It’s possible for cinema to weave this many themes and concerns together into one cohesive film. The Unforgivable simply doesn’t.
    • 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.
  15. Pitch Perfect 3
    Everything about Pitch Perfect 3’s foundation is openly half-baked. If it winked at its own indifference anymore than it already does, you might mistake its indifference for outright contempt.
  16. The Family Plan
    There is nothing in The Family Plan that you haven’t seen before, to the point that there’s somehow even less.
  17. Blumhouse's Truth or Dare
    Truth or Dare commits the cardinal sin of a film with such a stupid premise; it tries to explain the spiritual source of the game.
  18. Haunted Mansion
    A movie like Haunted Mansion is always going to be, at its heart, a cinematic advertisement for the theme park, but couldn’t we at least run with that idea and make it fun?
  19. Playdate
    No one escapes from this mess looking good, although to his credit, Ritchson is at least giving it a titanic effort.
  20. The Snowman
    The real problem with The Snowman is that no one involved seems to understand how movies work. There is no setup, no character development, no suspense, no mystery, no suspects, no payoff.
  21. Music
    Music is a bad movie, but I wish that were all it was. I can handle its poor pacing and stiff dialogue, but even doing research and writing an essay on the film’s problematic elements pre-release were not enough to prepare me for how harmful Music is to autistic people.
  22. The Misfits
    The Misfits, starring Pierce Brosnan and Nick Cannon, is airless, pointless and only passably made; an amalgamation of the most tired clichés of heist movies, executed in the emptiest way possible.
  23. Home Again
    The problem with director and writer Hallie Myers-Sheyer’s film is that it just blandly presents all of the expected cliches of the genre without anything really new or unique to say.
  24. Paint
    Paint is interested in the meme of the man. As the old proverb goes: A funny meme does not a feature film make.
  25. 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.
  26. The Nut Job 2: Nutty by Nature
    The Nut Job 2 actually contains some impressive animation, with photorealistic backgrounds and detailed fur dynamics on the characters, but that makes it an even bigger tragedy, since we know that untold hours were spent by artists in service of a product that even the least discerning child would find tired and useless.
  27. 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.
  28. Imaginary
    A horror movie so derivative that it becomes uniquely terrible.
  29. Churchill
    It’s difficult to think of a biopic that so thoroughly embarrasses its subject in the process of attempting to honor them the way Churchill does.
  30. Baywatch
    Baywatch is a tonal mess of epic proportions.
  31. Fantastic Machine
    The documentary—with the pretentious full title of And the King Said, What a Fantastic Machine, after the British monarch whose coronation Georges Méliès staged and filmed—is a bad undergrad media studies paper, given shape and movement by directors Axel Danielson and Maximilien Van Aertryck.
  32. Kings
    It’s genre salad, and every ingredient is wilted at a moment in America where Kings’ historical makeup remains fresh.
  33. 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.
    • 19 Metascore
    • 18 Critic Score
    On a Wing and a Prayer
    This is the film: Constantly rendered emotionless by decision-making both numbingly predictable and entirely inexplicable.
  35. America: The Motion Picture
    It is obnoxious, overlong, annoying and, above all, deeply unfunny.
  36. He's All That
    He’s All That is, yes, a nightmarish, joyless commentary on influencer-beholden adolescence told through the crutch of nostalgia and starring a charisma-less TikTok star, but it’s hard to know if one is merely an example of “Old Man Yells at Cloud” or if the teenagers of today are truly living in a Hell on Earth
  37. Blacklight
    Poor writing and direction suffocate Neeson so thoroughly that he can’t be charming, nor weathered, nor any other distinguishable feature; instead, the stalwart of old man action is just an expensive vessel for Williams’ half-baked ideology.
  38. Dashcam
    Rob Savage’s Dashcam is the equivalent of strapping a GoPro to a Republican edgelord’s dirty diaper and throwing it into a blender.
  39. High Voltage
    Despite the rarified standard of living in the film industry, I think it’s safe to say that superior intelligence has not taken possession yet. But something has. And somewhere in Heaven, Ed Wood is gazing down and going, “Dang.”
  40. Asking for It
    Asking for It is made with sloppy overconfidence, a stunning bluff of both style and substance.
  41. The Emoji Movie
    The Emoji Movie’s most insidious trait is its surface-level innocuousness.
    • 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.
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