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. Tully
    The movie takes some risks near the end that underline the story’s central themes while also undercutting them. But Tully is at its best when it’s simply moving intuitively from one negotiated respite to the next.
  2. Humane
    It’s solid, and at its best it’s an impishly entertaining little thriller. But all the talent in the world can’t overcome the feeling that there is more here to be mined, if only Humane had dug just a little deeper.
  3. Gringo
    It’s the central performance by Oyelowo, who allows us to laugh at Harold’s naiveté and tomfoolery with some well-placed broad comedy choices while never dropping the ball on the character’s relatability, that makes Gringo a worthy watch for genre fans.
  4. The Amusement Park
    There’s little here for the casual horror fan, but genre completionists will likely find something that sticks with them.
  5. I Want You Back
    More studio comedies should take chances on their principal cast members the way I Want You Back does. Even if little else here worked, at least Day and Slate do.
  6. 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.
  7. The Harder They Fall
    It’s worth watching at least once for the spectacle of the vibrant colors and great performances, and to be introduced to real historical characters, even if audiences must look far from the film to figure out what they were actually like.
  8. 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.
  9. Girls State
    A documentary that can struggle to tie its young politicos to the outside world, but thrives when tying them to each other.
  10. Blood for Dust
    Blood for Dust is a satisfactory interpretation of American hardships and making ends meet, one that’s been done plenty better and worse elsewhere.
    • 58 Metascore
    • 70 Critic Score
    The Deer King
    In addition to a story about a found family and the potential for a life-saving vaccine, there are more than four other stories unfolding. It’s a shame too because there’s nothing inherently bad about The Deer King—it’s simply trying to do too much.
    • 75 Metascore
    • 70 Critic Score
    Origin
    DuVernay has already documented history with projects like Selma and 13th, but Origin is her most daring feat yet.
  13. Heretic
    There’s something rattling around, somewhere in Heretic, dealing with the power and limitations of belief, a movie that aspires to the deviousness of something like Barbarian, to which its setting bears the mildest of superficial resemblance. At some point, it escapes into the night without much trace.
  14. Lift
    Gray plays to the simplest pleasures of heist cinema and wins us over because sometimes it’s alright to simply be dependable and straightforward.
  15. I Like Movies
    Writer/director Chandler Levack finds uncommon honesty in this Canadian video store employee and those he chafes against, even if the coming-of-age story eventually falls into some of the more palatable pitfalls its strident star would rail against.
  16. 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.
  17. The Thing with Feathers
    The Thing with Feathers can be a rich and somewhat bizarre experience about processing trauma, accepting death, and moving on.
  18. The Prosecutor
    The Prosecutor is often at odds with itself, but is saved by the sheer, bravura intensity of its superior action thriller side.
  19. Revealer
    Revealer aims for a seedy, late-night Cinemax vibe and successfully tells a story about the horrors of oppressing individual expression, but never meets the fullest potential of its premise.
  20. Yes Day
    It’s a lightweight film befitting its premise’s “good vibes only” origins—and its uninspiring construction makes its solid performances a pleasant surprise rather than a compliment to an already good movie—but you could do a lot worse than say “Yes” to Yes Day.
  21. Annabelle Comes Home
    This isn’t a movie in search of a greater meaning. It just needs to be entertaining. But it does both, and better still, it bothers to be creative.
  22. The Ministry of Ungentlemanly Warfare
    For Ritchie, though, the stolidness is an experiment and, in The Ministry of Ungentlemanly Warfare at least, a reasonably effective one.
  23. Weathering with You
    It never quite rises to pedigree of Your Name, but it certainly asserts its place in Shinkai’s oeuvre as his most challenging film to date.
  24. The Shrouds
    The Shrouds might not be Cronenberg’s most accessible or cohesive film, but it’s just as muddled as the process of coping with mortality in a world where we are pulled steadily further from what makes us human.
  25. Orphan: First Kill
    Orphan: First Kill isn’t an especially scary movie, nor is its class-war commentary especially subtle or insightful. Through sheer force of personality, though, these elements are rendered immaterial. Like Esther, the movie has a keen sense of how to weaponize its own audacity.
  26. Hunt
    Lee’s making finely tuned action here; organizing history lessons isn’t his job. But the ferocity of Hunt’s combined action and momentum let him bristle over past atrocities even if those atrocities aren’t his focal point.
  27. Fremont
    People don’t always want Goldilocks movies, but amid the melodramas and rom-coms, the IP blockbusters and action movies, Fremont’s easy flow and small scope provide the same reassurance (and opportunity for projection) as a small, optimistic piece of paper.
    • 47 Metascore
    • 70 Critic Score
    Wish
    Harboring inventive visuals and a heartrending message, Wish has enough heart going for it. What a shame, then, that it wasn’t confident enough in itself to try for success without these clichés.
  29. Suzume
    At its best, Suzume is a film that imagines modern Japan as a post-apocalyptic setting, evoking the animated beauty and “mono no aware” of pastoral iyashikei like Yokohama Kaidashi Kikou.
  30. Murder Mystery 2
    This time around, Murder Mystery 2 isn’t much of an actual murder mystery at all, less interested in the deductive skills of the Spitzes than in their indefatigable charm.
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