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. Women Is Losers
    Feliciano’s effort is particularly marred by hackneyed tropes. Whether it be that Latino fathers operate out of the same withered copy of a machismo manual or the simple assertion that kids simply “need a father,” Women Is Losers certainly won’t win over those yearning for something new.
  2. The Forgiven
    It’s telling that The Forgiven has the shape of a long, dark night of the soul, while actually taking place over several days.
    • 59 Metascore
    • 74 Critic Score
    Nobody 2
    Beyond the brutal violence and clever quips there’s a specific call-back to a type of film that flourished in the decades past, one that recognized fully that the specific joy of watching people get punched in the face doesn’t need to be wrapped in a dour or overly complex narrative.
  4. Kim's Video
    If ever there was a case made that being on the right side of history, in the right place and with the right story isn’t enough to make satisfying non-fiction, Kim’s Video is it.
  5. A Banquet
    There are glimpses of comparably daydreamy thrillers like Come True or The Feast that give themselves to the fantasy of mania, but A Banquet fails to grab attention like these more ambitious companions. It all builds up to a cinematic Irish exit.
  6. Dalíland
    The worst choice Mary Harron makes in Dalíland is relying on convention to make an end-stage portrait of an unconventional figure.
  7. I Love My Dad
    The film pushes itself to extremes like a broad and black comedy would, but isn’t quite enough of one to come across as anything but cruel.
  8. Those Who Wish Me Dead
    The film’s rock-solid survival story is enhanced by its charming ensemble and striking, elegant environment.
  9. Bad Boys for Life
    Bad Boys for Life is better than it should be—the audience at my screening clapped when it ended—but not quite up to being what it must: a reminder that, you know what, a thousand years from now, Bad Boys will still fucking be here.
  10. Upgraded
    Ana may be attempting to climb the class ladder, but the movie moves between classes with a freedom that feels weakly imagined.
  11. Ballerina
    The pulse-pounding, gag-heavy climax of Ballerina, meanwhile, attempts to cover up the fact that the film is only truly redeemable in the action-laden third act, after a clumsy and disjointed 70 minutes of paper thin revenge plot theatrics, growled out by actors of an embarrassingly high pedigree.
  12. Joker
    Do not let anyone tell you that Joker captures our specific time, represents our specific society, both births and defines our specific zeitgeist, grabs ahold of our specific faces and breathes smoke down our throats. It doesn’t. Joker is, more than anything, fine. And we, more than anything, are not.
  13. The Little Mermaid
    In the end, does a live-action The Little Mermaid feel vital? No. It gives fans of the animated original pretty much the same movie, beat for beat, with some slight adjustments that score on the positive side.
  14. Next Exit
    If Elfman’s destination is grim, the journey she takes to get there is palliative.
    • 59 Metascore
    • 90 Critic Score
    The Monkey King
    Though aimed at a slightly younger audience, The Monkey King still has the mix of high-stakes peril and high-reward comedy that has become part of Chow’s signature style.
  16. Cruella
    Caught between these conflicting expectations, it’s hard to appreciate Cruella as a whole. It’s overlong, with endless endings, and invites more conversations about it as a curious corporate product than as a cohesive movie. But it can also be perversely enjoyable with its flashy playlist-while-playing-dress-up aesthetic and brash, heightened central actresses.
  17. Night in Paradise
    While the visual and thematic richness of Night in Paradise could adequately carry the film on their own, the wry comedic tone that often infiltrates even the darkest exchanges between characters enhances the overall emotional payoff.
  18. What Happens Later
    What Happens Later is probably the most rewarding time spent stranded at an airport—literally or figuratively—that we’ll ever experience.
  19. V/H/S/99
    The feeling is one of depletion, as V/H/S/99 begins robbing past hits in a grim effort to keep itself mobile and vital.
  20. The Roses
    Much of The Roses languishes in second gear, with glints of amusement (Colman doing an Ian McKellan impression; the Englishness of punctuating or preceding insults with “darling”) that only accumulate in a way that makes the movie feel a little safe, compared to the genuine rancor and bitterness of the earlier film.
  21. Novocaine
    Novocaine starts with a premise that is Crank-like in its absurdity, deepens it with feeling, and then rams full speed ahead through a litany of stupidities.
  22. 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.
  23. Jumanji: Welcome to the Jungle
    Kasdan isn’t known for pulling off big budget action properties. He does his best here to create a kinetic pace, but the execution is always flat and dull.
  24. Moonshot
    Unfortunately, even though Moonshot aims high, its misfire falls all the way back down to humble terra firma.
  25. Wildling
    As Wildling’s center, Powley keeps our attention in her orbit, and Böhm constructs a universe around her that’s worthy of her talent (if at times too murkily filmed for its own good). But the movie loses its thread 15 minutes or so into its running time.
  26. 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.
  27. Get Away
    All in all, Get Away becomes surprisingly effective by the time all is said and done, bleakly satirical, bloody and a far cry better than the trite parody of director Steffen Haars other 2024 collaboration with Nick Frost, Krazy House.
  28. The Accountant 2
    That’s the true power of Affleck and Bernthal’s collective charm offensive: They can make a junky story about a computer-brained savior of human-trafficking victims resemble a whimsical hangout session.
  29. Ruth: Justice Ginsburg in Her Own Words
    After one of the toughest years that many people will ever experience and with debates raging on about how much the pandemic has ruined any progress for women in the workplace, it’s still nice to spend roughly ninety minutes watching how a tiny woman from Brooklyn helped break down obstacles for us bit by bit.
  30. It: Chapter Two
    When you turn those kids into adults, they lose not just most of their wonder, they lose most of their interest. They’re just some people in a horror movie trying not to get killed. And we have seen that many, many times before.
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