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 Wonder
    Even without the inclusion of Pugh’s character’s prejudiced thoughts, the film oozes a tangible distaste for the very people whose “story” we are following. These small-town Irish folk are depicted as barbaric yokels, prone to inbreeding, dim-witted fanaticism and senseless cruelty. As a whole, The Wonder conjures the abject horror of watching a rodent devour its newborn litter.
  2. Emma.
    With our current cultural moment so defined by protracted digital isolation—and its cousin, anonymity-enabled cruelty—the best thing de Wilde’s Emma. could do was lean so hard into the sublimity of Austen’s original that, for the entirety of its gloriously phone-free two-hour runtime, its audience might feel, collectively, transported. And that, it absolutely does.
    • 71 Metascore
    • 79 Critic Score
    The Caine Mutiny Court-Martial
    The Caine Mutiny Court-Martial isn’t Friedkin’s most sophisticated directorial effort, nor is it his most advanced thematic musing on man’s capacity for evil. Yet it enshrines him as an actor’s director, one capable of coaxing out subtle responses that can, by decimals of a degree, change the temperature in the room.
  4. Ms. Purple
    [Chon's] work is haunting and flirts with delirium, but at all times feels urgently alive.
  5. All My Friends Hate Me
    All My Friends Hate Me digs out a special niche between cringe comedy and horror, as if Stourton, Palmer and director Andrew Gaynord welded an EC Comics plot to an episode of Curb Your Enthusiasm.
  6. The Survivor
    In attempting to give The Survivor a more precise aim, Levinson falls into campy flashbacks and predictable dialogue. But for a story about humanity and the good and bad of people, the film is also satisfyingly character driven, which ends up being its saving grace; beautifully strange and nuanced performances give it the direction it needed from the start.
  7. Makala
    The documentary’s so simple it feels profound without ever really trying.
  8. You Are So Not Invited to My Bat Mitzvah!
    If You Are So Not Invited to My Bat Mitzvah does have the feel of an expensive, well-appointed, but not exactly lushly-made family project – maybe even a coming-of-age gift to the younger Sandler daughter – at least it mounts a charm offensive, rather than treating its audience like a pack of easily manipulated rubes.
    • 71 Metascore
    • 70 Critic Score
    Bob Trevino Likes It
    The film, where two broken yet kindly individuals find within each other acts that elevate their emotional mood, is surprisingly effective and truthful. Much of this is due to the strong performances, especially by the two leads that never succumb to being maudlin or obvious even when the situation edges towards the farcical.
  10. Videoheaven
    With an incredibly deep and frankly excessive wealth of archival footage at its disposal, Perry examines filmic versions of the video store experience, drawing conclusions about what they meant to us, how filmmakers used them, and how we processed the end of the video store era.
  11. Blitz
    Blitz might be a story of a war-torn metropolis and its inhabitants, but even so it feels bogged down by its ever-mounting tragedies.
  12. Undergods
    As an arrival, Undergods impresses, but what’s under the surface needs finessing.
  13. Gazer
    Metrograph Pictures’ Gazer is effectively a neo-noir mystery, one with heavy 1980s and especially 1970s stylistic trappings, with elements of surrealistic horror dancing on the edges.
  14. Shazam!
    It is, despite its surprisingly gruesome violence, little more than another superhero movie that will make more money than the GDP of a small island nation. It’s pretty good.
  15. The Room Next Door
    With his careful attention to the controlled emoting from both Swinton and Moore, so free of showy tearjerking or breakdowns, Almodóvar humanely and pointedly avoids turning The Room Next Door into an issue movie dedicated to assisted suicide. Then the movie backs into feeling like one anyway.
  16. Best Wishes to All
    An occasionally inscrutable and tonally unpredictable look at family, (lack of) empathy, self-centeredness and societal (and generational) rot, the film veers wildly between the genuinely disturbing and cynically comedic as it indicts Japanese society’s particular ennui toward happiness, satisfaction and aging.
  17. Man Finds Tape
    This is a startlingly creative and skillfully assembled little movie–one that eventually overreaches to some degree, but as a viewer you wouldn’t have wanted it any other way. The ambition of its filmmakers to reach well beyond their meager resources is as inspiring as the film is creepily unsettling.
  18. Theater Camp
    If you’re down for a light comedy with a very specific audience, pitched somewhere between Wet Hot American Summer and John Mulaney & the Sack Lunch Bunch, AdirondACTS welcomes you (and your prepared monologue—you did prepare a monologue, right?) with open arms.
  19. Memory: The Origins of Alien
    Alien takes the long way around the barn to get from its creator’s fundamental psychic “stuff” to the genre classic it is today; Memory: The Origins of Alien, dissects the journey from concept to conception in microscopic detail, and w
  20. Sundown
    Sundown is not a sunny film, it’s true. It’s deeply nihilistic and unpleasant, and even a bit silly. But Franco’s film is nonetheless a warped and fascinating take on class as it ties to egotism.
  21. Companion
    Companion becomes a gleefully silly, crowd-pleasing techno-romp, a Turing test valentine for those still learning to better love themselves.
  22. A Complete Unknown
    In the end, A Complete Unknown neither meaningfully conveys Dylan’s mythology nor exposes him as human. There’s more fulfillment to be gained from listening to “The Very Best of Bob Dylan.”
  23. My Hero Academia: Heroes Rising
    Sure, the action is thrilling and the visual effects are stellar, but Heroes Rising as a whole only manages to graze the surface of what makes My Hero Academia the series itself so great.
    • 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.
  25. Resurrection
    Writer/director Andrew Semans’ sophomore feature pulses with black-hearted humor and cruelties so odd as to be undeniably believable, but it’s Hall’s expressive transformation that drives the film’s blood into its final manic fever.
  26. Spring
    The love story at the center of Spring is mysterious, funny and often poignant—a tough enough thing even to describe, let alone commit to film.
  27. Hedda
    Hedda is DaCosta’s most direct and purposeful adaptation yet, but like her other films, it’s missing some ineffable push past its beginnings into more expressive territory. The process of adaptation feels more confident than the conclusion.
  28. The Friend
    The Friend asks, often with a good-natured smile, what can and must be salvaged from tragedy, and how we make room for this hazmat effort in a hectic life.
  29. Emilia Pérez
    The promise of more music keeps the movie on life support when its drama threatens to flatline. When these sequences gradually recede from the movie, it feels as if someone should call an ambulance, but it’s also too late. What’s left are shadows of what might have been Saldaña and Gomez’s best on-screen performances, or Gascón’s breakthrough.
  30. Monkey Man
    Monkey Man is the kind of action movie I want to see more of, and it gives Patel the chance to turn himself into the kind of action star he wants to see.
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