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. Divinity
    The resulting film from Eddie Alcazar is shallow and silly pseudo-experimental sci-fi, made by those assured that they were making something edgy and interesting. To err is human, to film it is Divinity.
    • 42 Metascore
    • 40 Critic Score
    A Little White Lie
    All of A Little White Lie’s problems can be summarized by Alex Wurman’s score. At first promising, inviting and light to compliment the fundamental cheeriness of the genre, it becomes all-encompassing, bearing down on the viewer with a menacing edge.
  3. Ron's Gone Wrong
    At times, the throwback goofiness of Ron’s Gone Wrong can be amusingly quaint, but more often the film is humorless, sentimental tripe that couldn’t find its point if it had a dozen B-bots giving GPS directions.
  4. El Conde
    The concept behind the film is an amusing, if obvious, one-note gag stretched out to nearly two hours, and not a gag that’s particularly novel or one that offers Larraín much to expand upon. As a would-be political satire and a vampire film, El Conde simply doesn’t have much (sorry, sorry, I know) bite.
  5. Marlowe
    The 70-year-old Neeson lacks both the physical stamina and charisma to pull off the Marlowe character; his fight and action sequences are sluggish and incredulous, and there’s zero chemistry between Marlowe and Clare Cavendish (Diane Kruger), the beautiful blond who hires him to investigate the sudden disappearance of her former lover Nico Peterson.
  6. Mr. Harrigan's Phone
    Those unfortunate enough to populate Mr. Harrigan’s Phone must be as dumb as the movie thinks we are. This low opinion of its audience is apparent in every step of its narrative and in some of its stranger creative choices.
  7. On the Basis of Sex
    We’re typically never trusted to accept the reality of an icon’s life for what it is rather than what media consultants want it to exemplify. What the film’s real failing amounts to is any lack of interest in Ginsburg’s true superpower: Her inhuman, sleepless drive to do the work.
    • 21 Metascore
    • 39 Critic Score
    The Gracefield Incident
    The thrills become rather predictable.
  9. Book Club: The Next Chapter
    In its broadest outlines, Book Club: The Next Chapter is a harmless, mildly farcical travelogue for fans of the central actresses, as well as those casually interested in briefly recognizing Andy Garcia, Don Johnson and Craig T. Nelson.
  10. Thunder Force
    But there’s so much done wrong as the film tries to be funny that when it is funny, the funniness goes down like a bitter pill: Why can’t it be good all the time?
  11. Being the Ricardos
    There’s a good movie baked into Being the Ricardos’ 131 minutes. It’s about 90 minutes long, maybe a little less. The remaining 41 minutes comprise an Aaron Sorkin movie, and like too much cream in a beautifully fried donut, they weigh down the total package with needless fat: Talking heads, flashbacks and archival footage.
  12. Cherry
    While the Russos and Holland clearly want to break out of their professional boxes, pulverizing this film with their big swings, Cherry is a bomb.
  13. The Dark Tower
    It’s so devoid of content and meaning that it’s easy to watch in spite of its terribleness.
  14. Atlas
    AI may not be advanced enough to make a movie even as crappy as Atlas, but in the meantime, it seems like autocomplete is having a go at it.
  15. Fantastic Beasts: The Secrets of Dumbledore
    As Rowling continues submerging her magical world into the same hellish and disreputable bog as her personal legacy, I wish she’d kept The Secrets of Dumbledore to herself.
  16. Sleeping Dogs
    Sleeping Dogs winds up playing like a low-rent Saw sequel without the elaborate traps or gore. It’s all bad cops and worse twists, turning the fragility of human memory into a cheap trick.
  17. Ghostbusters: Frozen Empire
    Ghostbusters: Frozen Empire doubles down, fully committing to its existence as a cynical nostalgia raid masquerading as a movie.
  18. Smurfs
    Who could have guessed that a simple Smurfs reboot would constitute such an unholy mess?
    • 70 Metascore
    • 38 Critic Score
    The Bikeriders
    Unfortunately, Nichols’ interpretation feels like a blind wandering through uncharted land, populated by a host of chiseled yet undeveloped characters. The Bikeriders is a shallow parade of cool images.
  20. Flight Risk
    Flight Risk feels like a free-floating outlet for a little bit of rage and a little bit of shtick, both Mad Mel standbys that he seems unwilling to really examine, within these confines or elsewhere.
  21. Captain America: Brave New World
    Directed by Julius Onah, Brave New World is as visually lifeless as the most lifeless MCU thrillers, marred by needless overcutting, flimsy digital backdrops and stilted composition; thematically, it says nothing confidently and even less coherently.
  22. Upgraded
    Ana may be attempting to climb the class ladder, but the movie moves between classes with a freedom that feels weakly imagined.
  23. Psychopaths
    Though the film acknowledges its performative nastiness at every opportunity—setting its killers and victims in windows, mind ballets, stages, and jail door slits, having them directly address the camera—acknowledgement doesn’t mean subversion, satisfaction or novelty. Even the most dedicated gorehounds should look elsewhere.
  24. Leap!
    The filmmakers behind Leap! seemingly can’t picture a children’s movie without a cavalcade of unnecessary action scenes and fart jokes—and not good fart jokes at that. The result is a movie allegedly about ballet with weirdly few scenes featuring actual dancing.
  25. The Tender Bar
    As mired as it is in identity confusion, cheeseball sentimentality and jaundiced camera filters, The Tender Bar could’ve been something if it had a purpose.
  26. The Black Phone
    Though its actual storytelling is pretty arbitrary, The Black Phone has the emotional simplicity of a children’s film, wearing its grit like makeup.
  27. Holmes & Watson
    Considering Ferrell and Reilly’s immense talents, Holmes & Watson is an even more unsettlingly unfunny experience.
  28. Summering
    Everyone has off days, or in his case off years. But Summering extends those off years into Ponsoldt’s most puzzling effort so far, a genre jumble roping together a kid-detective novel, a ghost story, a hokey “do you know where your children are” PSA and a coming-of-age dramedy.
  29. Heart of Stone
    Heart of Stone is murky, drab and always going the wrong speed. It’s either motionless, allowing exposition scene after exposition scene to lay out the boring details of what might happen if the wrong folks get control of The Heart, or erratic, dicing its badly remixed action sequences like it was trying to avoid a copyright strike from the movies it steals from.
  30. Hillbilly Elegy
    While most of the film is simply mediocre-to-bad melodrama with a questionably conservative bent to its messaging, some elements stand out for how downright terrible they are.
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