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. Motherless Brooklyn
    Motherless Brooklyn is far from an airtight masterwork like Confidential—it’s too bloated at almost two and a half hours and contains some acting choices that borderline on irritating—but for those looking for a neo-noir that goes down as harshly yet as satisfyingly as Sam Spade’s favorite Bacardi, it’ll deliver.
  2. The Whale
    Despite Fraser donning anywhere between 50 and 300 pounds of prosthetic fat for his role, Charlie lacks a fleshed-out interiority that, unfortunately, reflects Hunter’s original material.
  3. Warm Bodies
    Warm Bodies shambles along as inoffensively as its “regular” zombies—with little fright, little gore and an occasional chuckle. But, as a mild diversion that won’t bother either person on a date, one could do far worse.
    • 60 Metascore
    • 80 Critic Score
    Crawl
    Crawl is a brilliant ode to the magical realism of Florida and how, when made with craft and care, few movie-going experiences are as good as creature-features in the hottest month of the year.
    • 60 Metascore
    • 21 Critic Score
    Stillwater
    As the film trickles toward its howler of a conclusion, any hopes McCarthy might somehow salvage this story evaporate. Stillwater sinks like a stone.
  6. The Best Christmas Pageant Ever
    Despite the amateurish lack of comic or dramatic timing, Christmas Pageant does have some old-fashioned charm.
  7. The Nowhere Inn
    Early on, the self-deprecating stuff takes on a studied air, and in the final stretch, the filmmakers seem to think they can shock-cut and rug-pull their way into something resembling psychological horror. The weirdness isn’t really weird enough to pull this off; it’s all the self-indulgence without much oddball pleasure.
  8. Aporia
    If Aporia’s airiness gives the story a bit of distance from the world we’re living in right now, the film nonetheless does what good science fiction is supposed to, forcing viewers to bring the future conundrums it raises to their present.
  9. Christopher Robin
    Very rarely do you get the sense that anyone involved in Christopher Robin had a really strong take on the material or an innate understanding of why these characters have resonated for nearly a century.
  10. Wonder Woman 1984
    Wonder Woman 1984 has many of the same strengths and weaknesses as its predecessor. Fortunately, the exact mix and proportion of those strengths and weaknesses has shifted for the better.
  11. Triple Threat
    Like any obviously competent action director, Johnson establishes geography and spatial stakes with rigor, but then, like any incompetent action director—cough, Peter Berg, cough—he loses focus, the idea of the action overtaking its execution. It’s frustrating, because Johnson clearly understands what he’s doing.
  12. Three Thousand Years of Longing
    In its loopy, beguiling, occasionally befuddling way, Three Thousand Years of Longing feels like it’s trying—and sometimes failing—to sum something up about Miller’s own history of loving strange movie magic.
    • 60 Metascore
    • 85 Critic Score
    Jumbo
    Merlant’s writhing, fainting spells and intense gaze do well to communicate the intensity of desire and, although the film can sometimes be a dizzying attraction to climb on, Jumbo is certainly worth the ride.
  14. Sea Fever
    While Hardiman couldn’t have foreseen the elevated commentary her film would take on six months after its TIFF debut, it’s refreshing to have a film that takes itself so seriously by refusing to sacrifice its moral stance in order to satiate the anxieties of viewers—anxieties that have become more prescient than anyone could have imagined.
  15. Saw X
    It’s torture-forward, funny, preposterous, imaginative and puts into practice what the franchise should have learned a long, long time ago: There is no reason to reinvent the saw blade.
  16. Kompromat
    A remarkable real-life, low-artifice spy thriller becomes unremarkable fiction.
  17. Den of Thieves 2: Pantera
    If Gudegast is indeed aiming for Michael Mann, as some contemplative shots and a synth-y score suggest, he’s arguably missed the mark wider than ever. If he’s hoping to chart his own territory, well, Pantera spends a lot of time in the wilderness – before teasing another sequel, of course, where surprise will be even harder to come by.
  18. Caveat
    With a tight 87-minute runtime, Caveat would have made for a perfectly lean chiller had it opted to maximize the claustrophobia inherent in literally chaining the viewer to one terrifying location for the entirety of the film.
  19. Mrs. Hyde
    There are problems with Mrs. Hyde that have nothing whatsoever to do with Bozon’s puzzling creative choices, though for perspective’s sake, the problems are dwarfed by the choices.
  20. The Power
    When The Power is on, it’ll have you white-knuckling a flashlight all night. When it starts flickering, well, even its least nuanced moments or most telegraphed turns still have a level of craft that make certain Faith will be able to keep the lights on as a filmmaker for a long time to come.
  21. Moving On
    As they often do, Tomlin and Fonda make their material look sharper than it really is.
  22. The Columnist
    The Columnist argues that silence can be more violent and political than speech.
  23. Tokyo Pop
    What Tokyo Pop never allows is overcooked drama where the couple has to decide if they’re really in love, or if they’re just trying to hit it big. The film is genuine. It devoutly avoids putting on airs.
  24. The Aeronauts
    There’s a terrific 50-minute fan edit somewhere in The Aeronauts, but as far as the theatrical experience goes, half of it is more than worth your time, if you’re willing to tolerate the other half.
  25. Little Joe
    Little Joe could use a trim for better deployment of plot and unnerving atmosphere. No matter. Little Joe is a quirkily rattling movie, an off-kilter tonic during the year-end onslaught of movies proclaimed “important” by their studios, and what the film lacks in structure it makes up for in its eerie, cold singularity.
  26. Night Always Comes
    If only Jennifer Jason Leigh had been available for a few more days of shooting, perhaps Night Always Comes could have put some flesh on the bones of its family drama, enlivening what is otherwise an overly familiar crime caper, but like an absent parent, the supporting elements of the film just can’t be counted on when you need them.
  27. Went Up the Hill
    A queer ghost story with devastating emotional power and transgressive themes of domination, selfishness and abandonment, it is all too often hamstrung by plodding stylistic choices and a thin script that stretches many of its interactions until they’re so thin, threadbare and ethereal that they end up just as spectral.
  28. Fast & Furious Presents: Hobbs & Shaw
    Compared to the eight films preceding it, the mindlessness of Hobbs & Shaw isn’t a sign of humble poptimist genius, just of something less than what it could have been.
  29. House of Gucci
    Still, House of Gucci would not be what it is without the sheer weight of Lady Gaga’s portrayal of Patrizia, a woman who wants to “have it all” and then some.
  30. Being the Ricardos
    There’s a good movie baked into Being the Ricardos’ 131 minutes. It’s about 90 minutes long, maybe a little less. The remaining 41 minutes comprise an Aaron Sorkin movie, and like too much cream in a beautifully fried donut, they weigh down the total package with needless fat: Talking heads, flashbacks and archival footage.
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