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. Firestarter
    It’s a remake that lacks identity, urgency and enthusiasm—such a shame after Keith Thomas’ outstanding horror debut.
  2. The Persian Version
    The voiceover-heavy storytelling is exhausting and weightless, despite Keshavarz’s clear affection for and closeness to these women.
  3. The 355
    If playwright Theresa Rebeck, who receives co-writing and story credit, brought a fresher perspective to this material at some point, it has been slathered in screenwriterly varnish and a sense of take-charge female empowerment best described as EuropaCorpesque.
  4. The People We Hate at the Wedding
    It’s not especially fair to criticize the movie that could have been made, rather than the one that was actually made. But even on its chosen terms of a family dramedy, People feels lopsided.
  5. 12 Strong
    The movie has its moments. But Thor wrestling with the Hulk is more realistic and, frankly, more relevant to the current facts on the ground.
  6. The Vatican Deception
    It is far enough to one end of the docu-spectrum that it shares a border with “advertorial,” though I think it would be mean-spirited and beside the point to call it propagandistic. It seeks to educate. It doesn’t do a very thorough job of it.
  7. It Lives Inside
    It Lives Inside shows that a generic, uncertain script isn’t improved with a single coat of paint, especially if the ugly original is bleeding through the patchy, translucent renovation.
  8. Steve
    It’s like a TV pilot poorly dressed up as a character study.
  9. All the Money in the World
    For all the technical achievement on display, as impressive as it is that you could recast a main role in so short amount of time, All the Money in the World is disjointed and frazzled.
    • 73 Metascore
    • 49 Critic Score
    Miss Juneteenth
    When Miss Juneteenth isn’t trafficking in tropes, it’s a history lesson, and not the entertaining kind where you forget you’re actually learning; the textbook kind.
  11. Where the Crawdads Sing
    Where the Crawdads Sing is shallow, predictable and just broad enough that you can understand why it sold so well as a half-lurid paperback. Newman’s work adapting it makes its derivative elements as obvious as a bad accent, but its chart-topping, tone-deaf mediocrity is faithfully replicated.
  12. Goodrich
    [Keaton] has the kind of presence that makes you sit up and pay a little more attention to whatever he’s saying, and his restless, punchy manner is unsentimental enough to sell sappy material, even as he appears to sidestep it. Goodrich ultimately requires more sidestepping than one man can handle.
  13. Which Brings Me to You
    While Hale and Wolff have separately done strong work in prior romance films, including Hale and Hutchings’ prior winner, The Hating Game, they can’t spark any sizzle here.
  14. A Tourist's Guide to Love
    If Eirene Donohue’s script gave us more scenes to really get to know Amanda and Sinh as fully formed people, maybe A Tourist’s Guide to Love could have been memorable. But there’s really no chemistry, heat, or wit between Cook and Ly.
  15. Wonka
    The wreck of Wonka stings because of the clarity with which we see King’s eye for visual comedy and lavish setpiece staging, squandered on a movie where branding was always going to eclipse beauty.
  16. F*ck Love Too
    It’s depressing to see a film miss the mark in so many ways within such a by-the-numbers genre, but who knows? Perhaps by F*ck Love Three, this directing duo and writing quartet will finally have a grasp on what makes a rom-com tick.
  17. Miguel Wants to Fight
    Miguel Wants to Fight is a flyweight comedy with the misfortune of coming out the same year as the similarly style-forward, action-spoofing teen reckoning Polite Society.
  18. The Pickup
    Where The Pickup could have most easily have ideologically separated itself would have been on the comedic side, by leaning into the talents of its marquee names, but it instead represses the delivery of jokes more and more as it goes, becoming merely another tepid crime caper without a more distinct identity.
  19. Tulip Fever
    Director Justin Chadwick has managed to concoct a story so overladen and contorted it would actually probably be more satisfying to watch actual tulips growing. In the ground. In real time. (At least then the visuals would be beautiful and the story would make sense.)
  20. 13: The Musical
    Apart from some stray moments of youthful exuberance, the film version of 13 has been scrubbed as clean as any high school musical, so that it resembles any number of sitcomy streaming programming—erasing the very novelty that made it sing on stage.
  21. Motor City
    This is a showy exercise, Ponciroli purposefully hamstringing one dimension of his film and then expecting to be praised for rising above the very adversity he created, and not even the bloodthirsty action can salvage it from pretentiousness.
  22. The Mountain Between Us
    The Mountain Between Us is Grade-D bunkum with the good fortune to have actors working their hardest to sell it like Casablanca.
  23. Bridget Jones: Mad About the Boy
    Fans of the series will likely bask in the warm feelings, particularly a handful of scenes following a one-year time jump toward the end, like Tolkien devotees reveling in final stretch of Return of the King; agnostics may regard this same section as if it’s, well, the final stretch of Return of the King, playing to the similarly unconverted.
  24. AfrAId
    Making such an insubstantial film about one of our era’s greatest technological shifts isn’t just annoying. It feels downright irresponsible.
  25. 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.
  26. Valerian and the City of a Thousand Planets
    Valerian wants to be weird and sexy but just won’t let itself.
  27. Old Guy
    Old Guy is a rather careless take on the fusion of comedy and action genres, the kind of film that will throw around an acronym like “PSNI” in the middle of conversation and just assume an American sitting at home on their couch will deduce this stands for “Police Service of Northern Ireland.”
    • 40 Metascore
    • 48 Critic Score
    From the Land of the Moon
    Cotillard, whose face is often painted in chiaroscuro care of cinematographer Christophe Beaucarne, manages to provide a gravitas and slightly colored deviations from what is otherwise a monochrome character.
  29. The Parenting
    All in all, The Parenting is just a notably scattershot affair, from its poorly defined character relationships, to its questionable pacing (and eventual abrupt ending), to CGI that sometimes looks fine and other times is suddenly and shockingly inept, like what I’d expect to see in a feature from The Asylum or Troma.
  30. The Out-Laws
    The grotesquerie crowds out the movie’s fleeting cuteness.
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