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. The Dead Don't Hurt
    The Dead Don’t Hurt is stuffed to the gills with western tropes, with not a whole lot to add to the genre, especially in terms of furthering feminism onscreen. It may not be the worst western in the world in terms of women’s rights, but that is hardly a reason to commend a film that’s only missing the whore with the heart of gold.
  2. Mean Spirited
    It’s a shame. Jeff Ryan’s Mean Spirited voices relevant and vile concerns about social media soullessness, but its commentary is neutered by shaky execution.
  3. History of Evil
    History of Evil has something to say about the sad state of our nation–-and where it’s headed should we continue to regurgitate the same racist bile—it just doesn’t justify the means before its end.
  4. The Seed of the Sacred Fig
    Rasoulof knows a much more challenging and incomprehensible reality than many of us ever will, but it’s missing from the straightforward obviousness of The Seed of the Sacred Fig.
  5. Dear David
    You can’t fault an attempt to transform a viral sensation into the next bonkers realization of contemporary horror that exploits our ever-volatile online climate—but you can always fault a genre film that doesn’t do the chosen genre justice.
  6. Dog Gone
    This exhaustively sanitized, overly saccharine take on the hero’s journey is certainly nothing new, but it remains rather uninteresting.
  7. Eleanor the Great
    With a plot that likewise falls apart under the lightest bit of scrutiny, what we really needed was more judgement of our protagonist, and not less.
  8. Marshall
    Failing to be incisive or moving, Marshall is content to be genial and unthreatening—two adjectives that have never been used to describe the long, hard, ongoing fight for equality.
  9. Tall Girl 2
    With a solid cast and decent predecessor, Tall Girl 2 could have been a compelling watch, if only it didn’t make the mistake of relying on a premise that the first one had to go to unreasonable lengths (or heights?) to disguise as something else.
  10. Eenie Meanie
    The film needed to be either a dark, moody story about criminals seeking a way to break out of the ruinous track of their exploited lives, for the sake of a baby … or a winking, snarky heist comedy with a charismatic lead character. It instead tries to do both simultaneously, and the clash between those elements is distinctly awkward.
  11. The Bubble
    While attempting to highlight the inconsequential nature of “rich people problems,” the film isn’t incisive or clever enough to parody the very cinematic sensation it’s unintentionally playing into.
  12. Meet Cute
    Meet Cute has more on its mind than so many mid-2000s rom-coms, and sure looks a hell of a lot better, so it’s all the more crushing when so much of it turns out to be just as gratingly plastic.
  13. Train to Busan Presents: Peninsula
    Director Yeon Sang-ho, who staged genuinely tense sequences in the first film, just seems suddenly out of his element here when expected to produce a grander action spectacle.
  14. Bohemian Rhapsody
    There are some individual moments and elements to like here, but taken as a whole, Bohemian Rhapsody is mostly a flatline with occasional blips of life here and there—and not nearly enough to bring the whole body back from the dead.
    • tbd Metascore
    • 50 Critic Score
    Departing Seniors
    It’s everything a teen horror movie should be—messy, bloody and even steamy at times—but doesn’t add much to the slasher clichés we’ve seen before.
  16. Fear Street: Prom Queen
    Unfortunately, Fear Street: Prom Queen simultaneously goes out of its way to steal directly from all its major influences, demonstrating little if any original thought.
  17. The Seeding
    The corroded mineral walls, dehydrated trees, and all of nature’s other décor are wonderfully shot, and the performances aren’t to blame, but The Seeding just doesn’t have the storytelling mindset to protect its characters from looking like fools instead of victims of horrific circumstances.
  18. The Exorcism of God
    With the current onslaught of half-baked political horror commentary, sometimes it really is just enough for a film to simply focus on the scares for once, but be forewarned that The Exorcism of God’s subpar plot and politics definitely don’t do it any favors.
  19. Uncharted
    Uncharted spends a lot of time scraping up meager points for what it isn’t, rather than what it is. It isn’t a superhero movie, despite the budget. It isn’t CG’d within an inch of its life; there appears to be some location shooting in the mix.
  20. Stuber
    Stuber, although supported by the odd-couple chemistry between its two leads, ends up as stale as if it was made 20 years ago.
  21. Bring Her Back
    There is a better film somewhere in Bring Her Back, but it has instead been formatted into an unrewarding and unrelenting exercise in unpleasantness.
  22. Sherlock Gnomes
    The reason such a colorful mainstream family time-waster should exist is to string together a bunch of zippy PG-rated action set-pieces. In that sense, the film succeeds at the basest level, thanks primarily to the beautifully crisp animation, a big step-up from the first film’s overtly plastic CG look.
  23. Allegoria
    Allegoria uses an anthology format to unleash the evils behind a writer’s insecurities, an actor’s doubts and a painter’s perfectionist ego, but struggles as most anthologies do to find meaning behind shorts that begin and end before any substantial climax.
  24. Consecration
    Though it does hint at the toxicity and conspiratorial nature of a powerful institution, it never finds root in overt observations. It handles too many threads—childhood tragedy, murder cover-ups, clandestine spiritual rites—without the dexterity to effectively weave them together.
  25. Pacific Rim: Uprising
    Pacific Rim Uprising’s jokey tone fails to leaven the movie’s leaden clatter, and so any attempt on Boyega’s part to be heroic feels a bit shrouded in irony. But at least he registers: Eastwood may be even duller than Charlie Hunnam was in the first installment, and Spaeny plays the spunky Amara with maximum attitude and a paucity of charm.
  26. Despicable Me 3
    As much as I love to harp on Despicable Me 3’s lazy and cynical execution, this is a fairly inoffensive, zippy and colorful time-waster for the little ones.
  27. Suburbicon
    Suburbicon warns of the dangers of moral rot infesting our communities. No word yet on the effect that chronic smugness might have.
  28. Aloners
    For a directorial debut, Aloners showcases Hong Sung-eun as an exciting new voice—hopefully next go around she’ll give us a little more to chew on.
  29. Queen of the Ring
    It’s all perfunctory, paint-by-numbers, and played out, without the spark or personality that separates journeyman wrestlers from the real stars.
  30. Justice League
    Justice League may be a more functional film that its predecessors, but it also lacks the style and go-for-broke big ideas that made Batman v Superman such a fascinating shitshow.
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