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. Alita: Battle Angel
    For fans of futuristic sci-fi/action, it should provide an initially engaging but ultimately forgettable experience. Still, coming from Cameron and Rodriguez, even “forgettable” deserves a look.
  2. I Kill Giants
    It’s well-intended, it’s heartfelt and in its small-scale fashion it’s surprisingly ambitious, but it’s also content to cheat its own premise and withhold its genre pleasures, which effectively undermines Barbara’s journey.
  3. Worth
    A story that could truly individualize a massive, era-defining tragedy. In this telling, however, you’ll follow the plot and shed some appropriate tears, but if you come away feeling cheap, you won’t be alone.
  4. The Gray Man
    None of The Gray Man’s still-Bourne thrills are executed with the precise elegance of John Wick, the winking doggery of James Bond or the joyful craftsmanship of Mission: Impossible. Rather, its chaotic Grand Theft Auto filmmaking skates by with the sloppy sufficiency of its own protagonist.
  5. Sex Appeal
    Instead of ever actually showing sex, Osteen skirts around the issue by offering up campy, G-rated, fantastical sex-metaphors. Sex Appeal’s contradictory nature never truly lets up.
  6. La Chimera
    The dreaminess, a clear evocation of Fellini, feels well-worn and contrived instead of exciting, coasting on aesthetics.
  7. Wakefield
    Wakefield is… well, let’s just say, its insights into human nature are limited, at best.
  8. Venom: The Last Dance
    As the final level in this game of go-along, Venom: The Last Dance is still figuring out what a Venom movie needs to be, a tricky juggling of tone and spectacle that will be amusing enough for those tuned into this series’ squishy, uncomplicated rhythms and a numbing headache for folks bewildered by the chaotic and often rudderless existence of a Venom trilogy.
  9. Portal to Hell
    As writer, Woody Bess seems to want to drag more weighty pathos into a format that doesn’t inherently support it very well, and it ends up hurting both the film’s dramatic and comic deliveries at the same time, rendering its performances confused, with the exception of veterans like Keith David and Richard Kind.
  10. Ant-Man and the Wasp
    The movie is ultimately harmless, trivial puffery that vanishes from your brain as quickly as you experience it.
  11. Cat Person
    Rather than containing relatable multitudes in a compact story ready-made for online sharing, a bigger-screen Cat Person turns paper-thin.
  12. King Richard
    Though director Reinaldo Marcus Green finds winning performances away from his lead, the milquetoast script serves the tennis patriarch a soft lob—one without potential to inspire or excite, and one that’s constantly reminding us that we already know how it ends.
  13. Moonshot
    Unfortunately, even though Moonshot aims high, its misfire falls all the way back down to humble terra firma.
  14. Bros
    Bros says many of the right things, often loudly and directly, as it reblazes an already well-marked trail towards normative convention.
  15. Clown in a Cornfield
    It benefits from a strong central protagonist’s performance, but is simultaneously let down by a screenplay that collapses under the slightest bit of scrutiny. Clown in a Cornfield simply isn’t as smart as it needs to be in order to prove that it’s more than its title.
  16. Spaceman
    Despite Sandler’s powerful sincerity, Spaceman misses the joke.
  17. Eden
    The Galápagos affair has been shrouded in mystery for 90 years, but Eden doesn’t offer us convincing insight. It’s film built from obvious assumptions about what happened there, gained from a frustrating distance.
  18. Ismael's Ghosts
    Did Desplechin get seduced by the problems that plague filmmakers like himself? If so, he’s done a disservice to his own work, which needed a solution to its deficiencies—not an extended reverie that merely highlights them. [Cannes Version]
  19. Your Place or Mine
    More than anything, Your Place or Mine will probably just make you wish you’d watched an old Kutcher or Witherspoon flick this Valentine’s Day, instead.
  20. I Feel Pretty
    The movie keeps trying the bank shot of propping up its crazed premise while its lead actress, gamely, almost bravely, tries to undercut it. It never quite makes it, but you appreciate how hard it, and she, tries.
  21. The Strangers: Chapter 1
    Younger horror fans who haven’t caught up with the earlier films may well receive this one as a perfectly creepy little genre exercise, and there are moments where it plays that way even to a more experienced audience.
  22. Senior Year
    If Senior Year had been willing to further develop its affectionate social satire, it might have been a surprise 2020s classic of the teen-movie genre. Instead, it’s dead set on proving it has heart, too, and in the process becomes as thirsty for likes as any teenager’s Insta.
  23. 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.
  24. Don't Worry Darling
    For all the hubbub and controversy in the last few weeks leading up to release, it’s an at-best entirely ordinary movie carried almost entirely by Florence Pugh’s performance.
  25. Mute
    The criticism is less that Mute doesn’t know what it wants to be, and more that it seems to emphatically decide what it wants to be every few minutes, only to then change its mind once more. And every time it does so, it’s the audience that is being left behind.
  26. We Live in Time
    For a touch-and-go exercise in hoping the audience will fill in not just the narrative blanks but the emotional ones, there’s We Live in Time.
  27. 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.
  28. 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.
  29. The Pale Blue Eye
    It’s a sluggishly slow murder-mystery without much tension, one holding a candle to Poe’s work Nevermore.
  30. The Last Showgirl
    At once Coppola’s most coherent and least interesting film to date, The Last Showgirl feels designed for pre-release award body screenings, where its most unique elements – a worthy, game ensemble cast! An arresting lead performance! A careful, loving attention to showgirl decor and costuming! – can be itemized and lauded on a voting ballot, rather than them adding to a complex and effective film.
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