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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    • 64 Metascore
    • 81 Critic Score
    Suspiria
    Much of Guadagnino’s Suspiria feels beholden to nothing, indulgent and overwrought, existing only for itself. Art should never have to justify its own existence, but also: Why does this exist? What motivations conceived this film that seems to want very little—to maybe even dislike—the movie on which it’s based? And yet, it’s unforgettable.
  2. Ready or Not
    Ready or Not revels in expectations—it’s a survival thriller, dark comedy, gross-out revenge splatterfest—but rarely exceeds them, treading well through each genre signifier, as suspenseful and funny and violent as any one of us could hope.
  3. Before We Vanish
    Before We Vanish is almost too much of a stretch for Kurosawa, veering from gory sci-fi horror to screwball comedy to marital drama to alien conspiracy potboiler without the necessary connective tissue to give his genre cocktail equilibrium.
    • 64 Metascore
    • 60 Critic Score
    Elvis
    It’s clear that Luhrmann has a genuine affection for his eponymous star—having ensured that the film’s contents were above-board with Elvis’ relatives—but even with all of his auteurist trimmings, Elvis shares a narrative flatness with this new wave of musical biopics.
  5. Napoleon
    It is less a rich, twisty drama than a journey through a historical figure’s greatest hits, punctuated by more engrossing moments of vulnerability and intimacy that only leave you wishing there were more.
  6. Downsizing
    Although Downsizing is often thoughtful, funny and poignant, ultimately it really is just another movie about a middle-aged white dude pondering his insignificance—with the added demerit being that he learns valuable life lessons thanks to a marginalized woman of color.
  7. The Lost King
    The writers are so afraid that we won’t feel the right thing that they embrace a self-effacing humor that ensures we don’t feel anything.
  8. Come to Daddy
    Don’t mistake Come to Daddy as anything less than unbridled, of course, but for such a staunchly bonkers movie, composure rules Timpson’s aesthetic. He maintains an impressive control over a narrative that, at face value, appears to be constantly spiraling out of control, but that’s part of his design.
  9. Turtles All the Way Down
    Execution isn’t the problem here—the acting, direction, editing, set design and costuming are all done well enough. It’s that these elements add up to something that doesn’t feel subversive at all, just vaguely aware of itself.
  10. Ant-Man
    Ant-Man has more than its share of logic lapses and convenient (read: sloppy) scripting, but most viewers won’t care. In much the same way Guardians of the Galaxy was powered by the charisma and affability of Chris Pratt, Ant-Man is buoyed by the charm of Rudd.
  11. Guardians of the Galaxy Vol. 3
    Worlds are squandered, details are overlooked and, yes, there’s a CGI swarm. For better or worse, and much like the MCU at large, Guardians of the Galaxy Vol. 3 has a lot going on.
  12. Skywalkers: A Love Story
    Skywalkers: A Love Story certainly delivers on its promise of exhilarating footage of high-flying adventure-seekers.
    • 64 Metascore
    • 75 Critic Score
    I Am Mother
    I Am Mother offers just enough of a twist on an old futuristic tale to be enjoyable, and its small cast buoys the film above most small-budget sci-fi.
  14. The Beach House
    The Beach House plays an adept slow burn game. Brown fleshes his characters out nicely, giving them all ballast without worrying about whether we’d want to sit down for shellfish with them.
  15. Queen of the Ring
    It’s all perfunctory, paint-by-numbers, and played out, without the spark or personality that separates journeyman wrestlers from the real stars.
  16. The Villainess
    There isn’t an action movie out there in 2017 that’s quite like it (for better or for worse), no action movie either as crazy or as committed to its craziness.
  17. Downton Abbey
    There are some incredibly funny sequences, a few genuinely heartwarming ones, and so many plots it will nearly make your head spin. But that’s the Downton we know and love, and seeing so many familiar faces and dynamics is like visiting old friends for one more jolly reunion; you will smile throughout the whole thing.
  18. Snack Shack
    This sentimentalization plagues so many nostalgia pieces aimed at ex-kids, though at least a movie that ultimately pushes its luck and stalls out befits the high-rolling teenagers at its center. Most of Snack Shack is a winning scheme.
  19. Gladiator II
    Enjoyable as it is, Scott’s movie is adrift in a closed system, a massive warship floating around a coliseum.
  20. 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.
  21. The Mountain
    Levant gives The Mountain context, structure, bones.
  22. Kinds of Kindness
    The triptych of dark, minimalist fables that comprise Kindness share actors, an unnerving Twilight Zone tone, and a series of rhymes and echoes that sometimes feel like a chorus repeatedly transposed into different keys. But they most immediately, obviously share a lack of interest in being liked.
  23. Ready Player One
    I don’t know how he does it, or for that matter why, but Spielberg turns Ready Player One into something that’s both nostalgic and new, something impersonal yet uniquely his. It is not one of his better movies; it’s probably not even in the top half. It’s way too long and packed with too much extra junk. It is still, somehow, a gas.
  24. Never-Ending Man: Hayao Miyazaki
    Never-Ending Man is an impressive documentary.
  25. The Lodge
    The atmosphere that Franz and Fiala maintain isn’t a replacement for thoughtful writing, and their visual inventions are undone by the secrets that inspire them.
  26. Sebastian
    Mäkelä can capture something real about queer nightlife, shooting evocative moments at a drag king show, but that ability only makes you wish he’d abandon his main character—or at least let him mature a bit before subjecting us to him.
  27. Unwelcome
    Where Grabbers is a raucous gem, Unwelcome is subdued, more polished but sadder.
  28. Martyrs Lane
    Familiar pieces playing a familiar game to familiar ends won’t make Martyrs Lane anyone’s favorite horror movie, but it’s put together well enough to offer comfort and intrigue in small doses.
  29. Summer of 69
    If the movie’s adult characters are conveniences, its evocation of teenage yearning-slash-horniness (and the ways those can get mixed up) feels pretty real, even in the more outlandish moments.
  30. The Apprentice
    In the end, The Apprentice is a story whose central character wouldn’t really justify the telling of said story in normal circumstances, except for the fact that he eventually became a ruinous president of the United States.
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