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 3.3 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. Ragnarok
    Ragnarok ain’t a home run, but it’s a solid double, and certainly enough to cause Hollywood scouts to raise an eyebrow.
    • 52 Metascore
    • 60 Critic Score
    Players
    Players is entirely watchable, offering up some laughs and some elements that may be considered romance in the age of Tinder. But if you’re looking for that cozy feeling of warmth after watching a genuinely good rom-com, however, Players doesn’t quite play ball.
  3. 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.
  4. Despicable Me 4
    Despicable Me 4 loses focus like a golden retriever in a Petco plushie aisle, splitting characters into bottled subplots that can only be addressed in single-file order.
  5. Marmalade
    Marmalade is the kind of just okay, middle-of-the-road, nearly inventive but still mostly derivative indie that at least has the decency to be only 90 minutes.
  6. The Drop
    As with any ensemble piece, The Drop’s success relies on its characters, and for the most part, they are largely ineffective—much of which has to do with the central friend group coming across as an ill-fitted hodgepodge of eccentrics with little to nothing in common.
  7. The Last Thing Mary Saw
    Where The Witch unleashes disturbed cinematography or Lizzie swings a vicious ax, The Last Thing Mary Saw is a duller distillation of the fear-based corruption that faith can spread.
  8. Jerry and Marge Go Large
    In an industry still obsessed with youth, the message of Jerry & Marge Go Large is one worth celebrating.
  9. The Age of Adaline
    Maybe there is, in fact, something inherently valuable in producing a sincere effort of escapism, to transport the audience to a different, less cynical, arguably “better” time. But when the audience is collectively checking their watches, it’s probably not a good sign.
  10. Final Cut
    The dead air in the movie’s opening section is intentional, yet there are moments where Final Cut, the movie you’re actually watching, feels off – not through outright incompetence, but the eerie, imitative quality of a too-soon-too-little remake. Call it undead air.
    • 51 Metascore
    • 40 Critic Score
    Kuso
    It’s probably a tautology to say that the patchwork surrealism of Kuso doesn’t hang together as a coherent experience.
  12. Jurassic World: Fallen Kingdom
    Too often, Fallen Kingdom has all the soul and grace of a well-prepared business proposal—you can sense all the money being invested into an intellectual property in order to reap a sizable windfall and ensure the franchise’s continued commercial viability. It’s as scintillating as a retirement plan.
  13. Dark Harvest
    For what it’s doing and for how visually appealing it can be, Dark Harvest delivers October ickiness with a crooked smile.
  14. Baghead
    Baghead is moody and atmospheric enough (if low on scares) for about the first hour.
  15. Death of a Unicorn
    Death of a Unicorn may not be much more than another peg in an era of eat-the-rich cinema that has certainly become oversaturated in this form, yet time and time again its reflection of our times feels befitting.
  16. The Man in My Basement
    For far too much of its bloated runtime, it becomes an incomprehensible slideshow of trauma and weakly executed horror imagery, only occasionally revealing the far more effective, character-driven psychological thriller it’s clearly yearning to be.
  17. The Man with the Iron Fists
    The undertaking of an endeavor like this without prior feature film directing experience—as well as convincing a studio and many established talents to back him—is nothing short of extraordinary. But, in the end, The Man with the Iron Fists will have to settle for having crossed the finish line at all. Good hustle. Good hustle.
  18. Kids vs. Aliens
    Kids vs. Aliens is a harmless trifle. A filmmaker with this many years under their belt should have more to show for themselves than that.
  19. Valerian and the City of a Thousand Planets
    Valerian wants to be weird and sexy but just won’t let itself.
  20. The Advent Calendar
    Ridremont succeeds in crunching bones and raising hell, all with a seasonal waft of cloves and corpses from behind a wishgiver’s crooked smile. It’s chilling, teeters between moral stances and is a hellish-jolly greeting that should please horror fans in the mood for merriness gone malevolent.
  21. Quasi
    There are plenty of little chuckles throughout, but the movie doesn’t incorporate seemingly throwaway gags into its narrative like an expertly timed Harold-style improv. More often, it feels like the Broken Lizard boys are trying to salvage what works and re-use as much of it as possible.
  22. The Wrath of Becky
    It’s possible to fuse pulp with prestige while still saying smart things about the seismic political shifts required for creeps like the Proud Boys to skitter from the rocks they live under and infest society’s better elements. The Wrath of Becky makes no such effort. It’s built to thrill and made for chuckles, offset by Seann William Scott’s looming menace.
  23. The Man Who Killed Hitler and Then The Bigfoot
    The Man Who Killed Hitler and Then the Bigfoot is an exquisitely boring movie, a promise of high-concept adventure that only delivers a stiflingly melancholy ode to the unknown soldier.
  24. Dumbo
    The premise of a bunch of 1919 circus freaks whimsically conspiring to save an elephant from captivity should be an easy layup for Burton, but he just goes through the motions here with a paint-by-numbers Disney climax.
  25. Rough Night
    The movie is cluttered, disorganized, choppy, obvious and, at the end of the day, not even energetic enough to work up much frustration about.
  26. Cleaner
    Well into his late period, Campbell still knows his way around a crisp cut, but sometimes that’s most noticeable in Cleaner when he’s not directing action at all – which is a surprising amount of the time.
  27. Operation Fortune: Ruse de Guerre
    Either Ritchie didn’t bring his typical slickness for the ride, or he’s chopped up Operation Fortune: Ruse de Guerre intentionally to take the piss out of the genre. The effect at least feels more like comfort than boredom.
  28. Stanleyville
    An under 90-minute runtime does the film a massive favor, but Stanleyville is still an overextended last-person-standing confrontation of life’s ultimate acceptance that fulfillment may not ever be achievable.
  29. The Woman in the Yard
    On its terms, and especially with an ending I read as ambiguous, The Woman in the Yard is also unflinching enough to maybe count as daring, and maybe Sollet-Cerra’s most viscerally moving film. It’s also among his least playful, least comforting. Your anxieties can’t follow you around if you can barely make it out of bed.
  30. Karate Kid: Legends
    It is a solidly sweet and corny live-action children’s film at a time when kids are mostly being sold live-action remakes of perennial streaming-service rewatch faves.
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