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. It Was Just an Accident
    The story unravels at a steady clip, inviting more voices and frenetic emotions with every furtive location change, the possibility of righteous violence looking more likely and less inevitable at any given moment.
  2. Saint Omer
    Saint Omer views Kabou’s crime and the story unfolding in its wake through the lenses of motherhood and daughterhood, arguing that neither can be disentwined from the other.
  3. Her
    Far from taking the comfortable approach as yet another cautionary sci-fi tale of technology run amok, Her isn’t interested in holding a dystopic mirror up to society. Jonze instead posits a wonderfully original alternative to Skynet and the Matrix—in the future, the first self-aware A.I. won’t destroy the world, but it may just break your heart.
    • 91 Metascore
    • 91 Critic Score
    Little Women
    If you’re a living, breathing person with feelings and emotions, it is almost guaranteed to set your soul aglow.
    • 91 Metascore
    • 79 Critic Score
    Tótem
    Avilés is more concerned with the shape and sound of childhood, and across the 95 minutes (which covers one evening in the lives of this disjointed cast), she offers a nuanced take on the disparity and complication of being young in a world built to amplify grown-up problems.
  6. Nickel Boys
    Though Nickel Boys is at least in part about Black oppression and the suffering that comes along with it, Ross uses the movie’s point of view to avoid making a movie that turns that suffering into a marquee attraction or an endurance test.
  7. The Boy and the Heron
    The film is as complicated as the man it is about, and this is what makes The Boy and the Heron a masterwork.
    • 91 Metascore
    • 95 Critic Score
    All the Beauty and the Bloodshed
    Bloodshed is structured into two intersplicing sections charging forward at a rate of devastation your tear ducts absolutely cannot keep up with.
  9. Hit the Road
    The road trip always has to end, but the excellent Hit the Road introduces an exciting filmmaker whose journey is just beginning.
  10. This Is Not a Burial, It's a Resurrection
    Yes, This Is Not a Burial, It’s a Resurrection is constitutionally sad. It’s also angry, restrained, abandoned, exuberant when cracks open between its downward facing emotions, and, above all else, impeccably constructed.
  11. Anora
    Baker obviously loves most of his characters, and while Anora doesn’t necessarily give off warmth, spending so much of time in the visceral chill of a Coney Island winter, it regards the entire situation with nonjudgmental good humor and a touch of melancholy.
  12. The Favourite
    Rather than being concerned with historical authenticity (Sandy Powell’s costumes are gorgeously anachronistic), Lanthimos gestures towards an emotional reality that posits the lover and the loved as soldiers, capable of being a casualty in what each party believes is a greater cause. What a blazing and burning feat of melodrama.
    • 91 Metascore
    • 84 Critic Score
    Menus Plaisirs - Les Troisgros
    In Menus-Plaisirs Les Troisgros, Wiseman shows us how the sausage gets made in an unusually literal sense, along with a whole host of other culinary delights.
    • 91 Metascore
    • 90 Critic Score
    The Brutalist
    For every beat of affecting brutalism, there is an equally affecting beat of brutality.
  15. La Chimera
    The dreaminess, a clear evocation of Fellini, feels well-worn and contrived instead of exciting, coasting on aesthetics.
  16. The Worst Person in the World
    Joachim Trier’s The Worst Person in the World is as indecisive as its endlessly curious heroine, but it is an invigorating, exceedingly kind portrait conveying that the journey is just as—if not more—crucial as the place we end up.
  17. Licorice Pizza
    Licorice Pizza is more than just a movie. It’s a delectable, playful, sentimental reminder of what it means to be young, as well as an embodiment of what it feels like to grow up.
  18. First Cow
    If the film wants to implore us to understand the essence of man, how its portrayal of burgeoning American capitalism and entrepreneurial spirit is undoubtedly, jarringly, at odds with the nature of mankind. At its core, humanity craves companionship, stability and understanding, while capitalism breeds selfishness, inequality and isolation.
  19. All of Us Strangers
    A lot of movies attempt to replicate the experience of a dream; this one situates itself right on the edge, whether ecstatic or delirious or stricken, of waking up.
  20. Procession
    Procession feels like the surest execution of Greene’s voice.
  21. Blue Is the Warmest Color
    A beautiful, wise, erotic, devastating love story, this tale of a young lesbian couple’s beginning, middle and possible end utilizes its running time to give us a full sense of two individuals growing together and apart over the course of years. It hurts like real life, yet leaves you enraptured by its power.
  22. Phantom Thread
    Phantom Thread gets under your skin. On the surface, it is proper and refined and exquisite. But underneath, messy, angry real life keeps bubbling up, fervent and eager to escape. At last, it bursts through the seams. It always does.
  23. Wojnarowicz
    Overall, however, the viewer gets an essential introduction to Wojnarowicz—enough to foster a desire to look more deeply into his own, numerous written accounts of his life, and to examine their own upholdings of moral decency in art, sex and access to an unencumbered life.
  24. The Souvenir: Part II
    As a standalone film, The Souvenir provides Hogg with the means to articulate and meditate on her past, creating a work that is bleakly beautiful and enchanting all on its own.
  25. Sugarcane
    The documentary gives faces, names and histories to those affected by the residential schools—and looks, bracingly, towards a future where healing is possible.
  26. Look Back
    Look Back is a requiem for art lost to violence, to circumstance, to conformity. It is also an argument to create.
    • 90 Metascore
    • 73 Critic Score
    Green Border
    In a world marred by the tragedy of displacement—casualties of myriad geopolitical, colonial and economic interests—Green Border’s resonance speaks for itself.
  28. Oppenheimer
    It’s a fascinating spectacle in large part because Nolan isn’t especially Malickian at all (though at least that frame of reference might temporarily ease the overworked, underbaked Kubrick comparisons).
  29. Cold War
    Pawlikowski leaves it to the viewer to determine for themselves the fate of his Cold War proxy parents, and to glean purpose from the film’s gaps in time, its reticence, and even its black-and-white palette. Married with the Academy ratio, the color scheme makes the film feel classic, but Pawlikowski’s desire to plumb his past makes it timeless.
  30. High and Low
    The most tension-filled ransom exchange sequence ever filmed works perfectly as the midpoint break between the two halves, which eventually begin to converge as a potent study on the psychological effects of income inequality disguised as a straight genre piece.
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