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. The World to Come
    The World to Come doesn’t offer queer viewers anything revelatory in the realm of lesbian period romance—an increasingly prevalent subgenre that could stand to closely scrutinize the involvement of men behind its scenes—but its audiovisual creativity might very well justify Fastvold’s adaptation of yet another sad Sapphic story.
  2. This Closeness
    Zauhar’s filmmaking style has matured along with her characters. Where Actual People took us on a fast and loose misadventure from New York to Philly, This Closeness is controlled and taut, displaying immense restraint and intention.
  3. The Killing of a Sacred Deer
    The Killing of a Sacred Deer is endlessly watchable but only intermittently arresting—you’re held captive by its craftsmanship, even if you find yourself not particularly invested in how it all plays out.
  4. Air
    It’s a wholly relatable and surprisingly sharp tale of grandiose risk-taking and myth-making.
  5. John Wick: Chapter 3 - Parabellum
    As video games and action movies parabolically draw closer and closer to one another, John Wick 3 may be the first of its kind to figure out how to keep that comparison from being a point of shame.
    • 73 Metascore
    • 76 Critic Score
    Dust Bunny
    Fuller is in fine form with Dust Bunny, and with its goofy tone, and its unabashedly maximalist elements navigating between more subtle character beats, there’s a plenty to admire about this feature film debut from a well-established storyteller.
  7. Lucy and Desi
    Poehler’s film hits the same notes that we’ve heard before without presenting new information, exploring new territory or asking any new questions.
  8. Five Fingers For Marseilles
    The film’s vistas are beautiful and Matthews’s aim, high, but those aspirations are not fully realized in what feels like a first draft attempt at brushing Western customs with textures drawn from a South African palette.
  9. Montana Story
    An intimate drama about a family disbanded by abuse, Montana Story is superbly acted, but lacks a formidable narrative capable of carrying its protagonists.
  10. Emergency
    Emergency’s ensemble sustains its premise for far longer than it should be able to, maintaining the nuanced balance of commentary-thriller-comedy whenever the script becomes too interested in just one ingredient of its complex cocktail.
    • 73 Metascore
    • 80 Critic Score
    Funny Pages
    Funny Pages has all the bells and whistles of a Safdie joint, from the hustler caught in a hellish loop to the frenetic coda set to rest by moments of painful introspection.
  12. Anaïs in Love
    The film’s narrative structure is as aimless as its lead, and it hangs onto her every whim; few obstacles are placed in Anaïs’ way, leaving the stakes low and little room for doubt. For those who enjoy watching a protagonist effortlessly get what she wants, Anaïs in Love is a breezy ride.
  13. Spider-Man: Homecoming
    Briskly paced and charming to a fault, it’s a Spider-Man movie that fully embraces both its source material and the perils of 21st century teenage life.
    • 73 Metascore
    • 85 Critic Score
    Puss in Boots: The Last Wish
    What could have easily been a hairball of half-digested nostalgia is transformed into a mature and cat-ivating story that positively purrs.
  15. The Killer
    By applying our technocapitalist present to the kind of person that this reality inevitably creates, Fincher’s created a thoroughly entertaining look at a pathetic crook—all while delivering a self-deprecating blow to clockwork living.
  16. Mr. Roosevelt
    The film’s abundance of tenderness and lack of cringe laughs, save for that opening sex scene, lets it stand out from its feel-bad comedy peers.
  17. Splitsville
    In pure plot mechanics and interpersonal dynamics, Splitsville resembles any number of Woody Allen movies, double-hinged on the capriciousness and endurance of love.
    • 73 Metascore
    • 70 Critic Score
    Folktales
    At its best, Folktales paints a grounded, nuanced picture of what it means to be a young person.
    • 73 Metascore
    • 82 Critic Score
    Fairyland
    Though the threat of tragedy hangs over Fairyland, it never diminishes the film’s emotional weight. As a viewer, you carry a heavy heart that knows where the story is likely heading, yet some part of you still hopes a miracle might intervene.
    • 73 Metascore
    • 67 Critic Score
    Ferrari
    Ferrari is a loud and thrilling race that leaves the figure of Enzo stranded on the side of the road, unknown and lost.
  21. News of the World
    Zengel is a fresh spark in an otherwise old-fashioned production, but old-fashioned here is a compliment. News of the World has no interest in subverting or updating classic Western formulas: It is content with its function as a handsomely-made studio picture, built ostensibly around Hanks but with plenty of room for its young star to make her mark.
  22. Good Boy
    Yes; it stars a dog–but it’s also one of the year’s most potently unnerving and emotionally resonant horror films at the same time.
  23. The Square
    The Square’s contrast between categories of morality is peak Östlund. There’s no clearly defined gauge for goodness or badness here, just a palette of gray ethical relativism to offset the film’s superior construction.
  24. Both Sides of the Blade
    Though it pales in comparison to the bold creativity of High Life, Fire is adroitly handled in Denis’ hands. A melodrama steeped in typically French ideas of sexual deception and personal passion, it still manages to find a freshness thoroughly conveyed by Binoche and Lindon’s involvement.
  25. Battle of the Sexes
    Battle of the Sexes projects a breezy confidence—the movie’s a little too smooth and polished, eschewing the grit of real life—but Stone conveys her character’s growing anxieties with such care that King emerges as an immensely empathetic, resilient figure.
  26. Hive
    Far more interested in unpacking the pervasive misogynistic sentiments in Kosovo than the actual war itself, the film is pointed in its chosen observation, but appears remiss of broader political engagement.
  27. The Inspection
    For better and worse, The Inspection seems like the movie Bratton had to make, a story so personal that some of its biggest emotional confrontations start to resemble a therapeutic exercise.
  28. The Devil's Bath
    The Devil’s Bath is motivated by its character study, exploring the dread found at the intersections of rural peasant life, untreated mental health issues, a patriarchal environment and religious dogma through its almost documentary-like lens.
  29. One Of Them Days
    Mostly, though, the movie’s cartoonishness feels pitched just right, a heightened silliness that the characters’ circumstances keep bringing back to earth.
  30. The Adults
    True to its small, sometimes nearly microscopic, scale, The Adults draws a perfect miniature portrait of a highly specific demographic: People obsessed with doing bits, making up songs, and perpetuating their own inside jokes who nonetheless never turned to a life in the performing arts.
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