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. Early Man
    Park smoothly pilots this film around and through certain narrative conventions—training-montage clichés are parodied, familiar sports-movie characters are rejiggered—and there’s a pleasing familiarity to the whole endeavor. But there’s also a ceiling to how funny or touching any of this is.
    • 65 Metascore
    • 65 Critic Score
    Relax, I'm from the Future
    Rhys Darby’s charm, some decent jokes, and a handful of interesting theories save Relax, I’m from the Future from being a total slog, but its unfocused script and unexplored ideas hold it back from greatness.
  3. Skywalkers: A Love Story
    Skywalkers: A Love Story certainly delivers on its promise of exhilarating footage of high-flying adventure-seekers.
  4. Sundown
    Sundown is not a sunny film, it’s true. It’s deeply nihilistic and unpleasant, and even a bit silly. But Franco’s film is nonetheless a warped and fascinating take on class as it ties to egotism.
  5. The Tiger Hunter
    The Tiger Hunter isn’t exactly the most woke comic effort you’ll see in 2017, but there’s a particular pleasure taken in watching Khan pick apart our beloved national fable through a South Asian lens, even though that lens indulges a traditional and long-expired style of racial profiling.
    • 57 Metascore
    • 65 Critic Score
    Shirley
    As a character study, it repeatedly points out contradictions in Chisholm that it refuses to interrogate for fear it will come off as critical. The result is a hagiography with some obvious holes, something that a better film might try to balance.
  7. Scream VI
    What Scream VI ultimately lacks, on the other hand, is a clear sense of what it’s trying to say beyond the literal plot unfolding on screen.
  8. Young Ahmed
    Young Ahmed isn’t the affront to taste people feared it would be. But its lack of genuine depth feels like an offense unto itself.
    • 66 Metascore
    • 65 Critic Score
    Devotion
    That it was made with some sense of care for the real-life figures at its center makes it slightly more admirable than other movies of its type. So also does the welcome depth that Majors, the script and director J.D. Dillard give Brown. But outside that sense of commitment, Devotion is an unremarkable experience.
  10. The Owners
    Together, McCoy and Williams make The Owners stand out. Newness is a big ask for movies visiting territory this familiar. Two outstanding central performances, however, make a much more reasonable expectation.
  11. Kate
    It would be a stretch to call Kate a modern Western, but it has a certain gunslinger sensibility that mitigates any self-conscious edginess. There’s even a modicum of poignancy as Winstead fights her personal battle through increasing bodily disrepair. Despite the existence of so many movies like it, Kate tires you out on its own terms.
  12. The Night House
    It’s a fun flick and some may still be drawn into The Night House’s mystery, but the film—and everyone at the heart of its conception—have Hall to thank for that.
    • 48 Metascore
    • 65 Critic Score
    Goon: Last of the Enforcers
    As was the case with Goon, Last of the Enforcers revels in a hockey culture that Baruchel knows intimately, exhibited in the crude locker room banter from some of the returning players.
  14. The Sacrifice Game
    Entertaining and surprisingly gory, though not particularly ingenious, The Sacrifice Game is a fairly enjoyable and under 100-minute caper about incompetent demon-worshippers led by Disney’s own Prince Aladdin, Mena Massoud, and the power of friendship between women.
  15. Founders Day
    Erik Bloomquist’s direction is composed, and his co-written screenplay with Carson plays on politician-slamming themes, yet Founders Day is still a second-tier slasher that crosses too many plotlines in an overly complicated small-town massacre.
    • 69 Metascore
    • 65 Critic Score
    One Life
    Well-acted and competently told, One Life arrives in the wake of two of the most formally and intellectually rigorous examples of cinema yet made on the Holocaust, and it can’t help but appear a little flimsy in comparison.
  17. After Love
    Despite these sharp moments, there’s a frustrating looseness to Lafosse’s narrative, feeling as though many of After Love’s scenes could be rearranged without changing the film’s flow. In turn, a slackness undercuts the tension the film is otherwise trying to build.
  18. 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.
  19. Bad Things
    Bad Things wants to be quirky, callous and cutthroat before an explosive ending, but never aggressively combusts as we’d hope—even with chainsaws and flesh-cutting blades in play.
    • 76 Metascore
    • 65 Critic Score
    Shirley
    With such a fascinating “friendship” at work, Shirley could have spent less time on the impact of the husbands on the creative and personal endeavors of their wives, but it doesn’t.
  21. I, Tonya
    Screenwriter Steven Rogers and director David Gillespie get an “A” for effort as far as their brave attempt to meld these wildly differing tones into a cohesive narrative, but their execution, as satisfying as it might be, too obviously reaches for a pedigree it hasn’t yet earned.
  22. Moana 2
    The missing ingredient here is no doubt Lin-Manuel Miranda, who lent his now iconic style to the first film (fret not, you can hear his work in the upcoming Disney film Mufasa: The Lion King).
  23. Landline
    Hers is a humane vision that refuses to cast easy judgment on her deeply flawed characters, never excusing them for their unwise decisions, but understanding the inner anguish from which they arise.
  24. House Party
    With House Party, Calmatic jumps from a prolific music video career to feature filmmaking with the same energy, leading to shorter-burst storytelling that values standout moments over longevity.
  25. Sound of Violence
    Though Sound of Violence marks a strong first leading role for Brown (who is cast in the forthcoming Scream reboot), it ultimately fails to impart anything more significant than the raw power of what one good actor with a brain-melting theremin can do for an otherwise underwhelming product.
  26. The 4:30 Movie
    While still leagues beneath the slacker-inspired brilliance of his early career works, The 4:30 Movie does at least concertedly cement itself in Smith’s prose and perspective.
  27. Kung Fu Panda 4
    It will entertain children, and it will inspire another sequel. Call it DreamWorks zen.
    • 69 Metascore
    • 65 Critic Score
    The Old Oak
    Though still a damning portrait of a country that has delivered its poor to the free market, The Old Oak is a comparatively gentle, reflective and even tentatively hopeful work.
  29. The Spy Who Dumped Me
    All of the plot developments, including the third act twist, are predictable for aficionados of the genre, but the many successful standalone comedy and action sequences, as well as the natural chemistry between Kunis and McKinnon, keep us going.
  30. The Venture Bros.: Radiant Is the Blood of the Baboon Heart
    A still somewhat convoluted wrap story that clarifies a few of the show’s bigger mysteries while indulging in a parade of series callbacks of varying quality.
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