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 3.1 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. Beverly Hills Cop: Axel F
    Beverly Hills Cop: Axel F is a standardized comeback that moderately succeeds in balancing tradition with reinvention. The film doesn’t kick your door down and challenge your Beverly Hills Cop fandom—Molloy knocks politely on your door and shows you what you want to see. It’s a humble nostalgia bomb à la Live Free or Die Hard, one afraid to upset the apple cart and detrimentally one-note. But Eddie Murphy’s still Eddie Murphy, and that’s like sneaking in a cheat code.
  2. The Outfit
    With its crisply likable leads mixing it up with pleasingly chewy gangster stereotypes, it has the consistency of a good candy bar.
  3. Good Madam
    There’s nothing exceptionally freaky outside one or two practical effects of bodily implications, and yet Good Madam still finds nationally significant ways to summon societal fears.
  4. The Queen of Black Magic
    While its larger ideas never fully find their feet, The Queen of Black Magic lights a fire beneath the soles thanks to its continuous flow of gags—eventually developing into an almost Hellraiser-esque carnival of punishment.
  5. Mountainhead
    Mountainhead promises and delivers a takedown of those tech bros who now rule our society, although there are few genuinely schadenfreude-derived smiles to be had in the exercise.
  6. Pearl
    While West’s sleazy ‘70s slasher remains one of my champion horror titles of 2022, Pearl is more like giddily deranged add-on downloadable content that makes for an unexpected bite-sized treat. Kudos to the accomplishment, and it’s an ax-swinging slice of bad-vibes hoedown kookiness, but there’s a particular substance missing that X oozes.
  7. What We Left Unfinished
    Clocking in at barely over an hour, What We Left Unfinished feels a bit unfinished itself, and its compelling premise will leave history buffs, media scholars and those simply looking for a good yarn about lost art wanting far more.
  8. Knocking
    The feverish Knocking puts together a fittingly upsetting portrait of lonely instability through its simple premise, visually inventive first-time director and physically invested star.
  9. Death of a Unicorn
    Death of a Unicorn may not be much more than another peg in an era of eat-the-rich cinema that has certainly become oversaturated in this form, yet time and time again its reflection of our times feels befitting.
  10. You'll Never Find Me
    Bell and Allen employ big ambitions in a confined area, treating stranger-danger paranoias with an elevated supernatural presentation that’s frightening—maybe a bit overlong—but undeniably effective.
  11. Nobody
    Even in its over-the-top finale, Nobody never quite reaches the bloody ballet of Wick, nor the depth that franchise’s odd underground world offered, which dulls the tip of its action.
    • 65 Metascore
    • 70 Critic Score
    Last Breath
    Overall, Last Breath is an exciting, fun, and immersive watch that does justice to the heroic stories of Chris Lemons and the crew members that raced to save his life. It is action packed, visually exciting, and sure to please diverse audiences seeking authentic, heartwarming excitement.
  13. Wyrmwood: Apocalypse
    While Wyrmwood: Apocalypse might be described as a brains-off zombie flick that’s best when at its most insane, it’s certainly not braindead. Engines rev as zombies breathe toxic-colored fumes, homemade outposts defend against hungry undead outside, and horror-action excitement ramps almost with a vivid, videogame cinematography that’s escapism through extreme, baddie-brutalizing violence.
  14. Burial
    As an exercise in suspense and genre mimesis, Burial is exceptional. But Parker slacks on the details that function as musculature for the film’s core entertainment.
  15. They Cloned Tyrone
    On a scene-by-scene basis, though, They Cloned Tyrone is well-crafted entertainment, buoyed by its three major performances.
  16. The Smashing Machine
    The Smashing Machine is sensitive, texturally rich, and technically strong. But the melodrama of Mark Kerr—the real one—was somehow more potent when we saw it unfiltered.
  17. Torn Hearts
    Grant packs plenty into Torn Hearts’ double-barrel approach, and assures herself as a director who knows her way around a joyfully dark midnighter romp. It’s a sinister and fork-tongued tune that holds a nutty tempo, sure to delight audiences who are into hootin’ and hollerin’ at some honky-tonk horrors.
  18. 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.
  19. Dayveon
    It’s only in Dayveon’s final act that plot contrivances begin to wander away from Abbasi’s carefully calibrated realism.
  20. Sanctuary
    Ultimately, Sanctuary’s psychology—which I found a bit muddled at times—is less persuasive than the artistry of shifting, gendered dynamics between Hal and Rebecca, and less enthralling than watching Abbott and Qualley play off of one another.
  21. Zeros and Ones
    Bolstered by a sharply competent central performance as well as darkly intoxicating shots of an ancient city, Zeros and Ones is an act of artistic abstraction that is mostly rewarding in its ambiguity.
  22. A River Below
    A River Below is pure investigative journalism.
  23. Bullet Train
    I had a good time with Bullet Train. I didn’t hate Bullet Train. I just think that I’ll begin to forget Bullet Train, and in remembering that I’ve forgotten it, I will resent it because I’m an easy mark for crime films and an easy mark for action movies—including but not limited to cheeky R-rated action-comedies
  24. A Taste of Hunger
    Coster-Waldau and Greis-Rosenthal have a fierce chemistry and passion that coats every conversation they have with one another, whether it comes from a place of love or, later, of disdain. They push each other to their limits in nearly every scene, upping the ante with each glance and loaded word.
  25. Sitting in Bars with Cake
    What truly makes Sitting in Bars with Cake work are the standout performances from Shahidi and A’zion.
  26. Plane
    By laying off the action-movie gas pedal, Plane makes Butler, performing in his native Scottish accent, more warmly likable than he’s been in years.
  27. Selah and The Spades
    Poe’s steady hand keeps the balance between realistic teen drama and the crime genre, allowing its examination of melodrama surrounding betrayal, rule-breaking and power-grabs to breathe true.
  28. Drugstore June
    Stand-up comedian and actor Esther Povitsky stars in Drugstore June, a coming-of-age crime story where social media makes for a dangerous weapon, boredom an impetus for a full-scale detective investigation, and youthful delusion an impressive decoy for charm, depth, and dimension.
  29. The Velvet Underground
    The Velvet Underground will leave one less acquainted with the band with an incomplete picture in mind, but it’s unfair to say that the film is only for true enthusiasts. Instead, Haynes is interested in capturing a mood: A feeling of creative interconnectedness, of change, innovation and of a revolving door of people and art that will never again be replicated.
  30. Family Portrait
    This closely choreographed chaos, paired with a harsh soundscape that gives off an anxiety-inducing underwater effect, ushers us into an enigmatic story of a family on the brink of unraveling.
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