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. The Tomorrow War
    Unfortunately, The Tomorrow War isn’t allowed to be the dumb, “just go with it” summer spectacle it should have been, a la Independence Day. Instead, McKay and Dean force it to be a self-aware and “smart” time travel drama, with feelings big enough to crack generational war trauma issues, among lots of things that go “boom!” and “pew, pew, pew.”
  2. Him
    Tipping approaches this dilemma but is too intellectually distracted to focus on the raw complexities that would otherwise give it shape or resonance. He opts for spectacle, which wears thin fast.
  3. Padre Pio
    Padre Pio’s two halves stubbornly, constantly butt heads with each other, stories in catastrophic disharmony.
    • 48 Metascore
    • 32 Critic Score
    Gran Turismo
    Through its aspatial editing, refusing to ever let a racetrack be understood in continuity, Gran Turismo becomes a cacophonous collage of experience based on real car racing as much as real videogames, but fundamentally opposed to the reality of either.
  5. Brad's Status
    Every creative problem White gives himself receives the most boring, trite solution, each chance for artistry stifled by mediocrity.
  6. The Score
    By the end of this movie, its inventive genre cross-breeding feels as worn-out as any other.
  7. The Substance
    An overuse of stale horror conventions in an already predictable plot—combined with decades-old, thoroughly unchallenging ideas about women’s relationships to their bodies—leads to a film that claims to support its protagonist, while treating her like the butt of the joke at every turn.
  8. Home Sweet Home Alone
    Home Sweet Home Alone doesn’t bear any aesthetic beyond “existing.” It is obligatory when it needn’t be. It will undoubtedly get a sequel.
  9. Locked Down
    Locked Down is a crushing miscalculation on every level that should’ve stayed locked up.
  10. Vanquish
    Imagine spending an hour and a half or so watching a film that, the minute the credits roll, dissolves from the mind like cotton candy in hot water. That’s Vanquish. Nothing that happens throughout its narrative happens for any good reason, other than the plot dictates it must for the sake of limping to the next scene.
  11. Action Point
    Such a thin plot from some of the Jackass guys would have been completely forgiven, or even blissfully ignored, if the stunts were on par, or at least close to, what we expect from these guys.
  12. Malcolm & Marie
    It’s less a story and more a fragile white male provocation, and it’s repulsive.
  13. DogMan
    Compounded with dull plotting and a truly uninspired protagonist arc, Dogman is a curiosity of a comeback film that only makes you consider the virtues of director jail.
  14. Shattered
    David Loughery’s writing isn’t necessarily bad, it just isn’t interesting, and when you’re doing this type of done-to-death B-movie, you need to bring something fresh to the table or else your film just fades away.
  15. The King's Daughter
    Because of its long road to the screen, I wanted so deeply to like it. However, its haphazard story, mediocre visual effects, downright awful costuming and other cardinal sins made it hard to find anything redeeming about the movie, no matter how many years have passed.
  16. Run Rabbit Run
    Run Rabbit Run never gets past the sensation of being a Mad Libs horror movie, where those blank spaces are filled in with the most obvious tropes.
  17. The Son
    Zeller is clearly more experienced as a writer than a director, but even his ability to extract the powerful (if stagey) performances we saw in The Father is missing here, as everyone just insists their lines upon each other with tones borrowed from shouty amateur theater.
  18. The Lair
    The Lair is an abomination of bad accents (“Texan American” yee-haw, “Unintelligible Englishman,” Australian muddying both), excruciating action hero one-liners, and discouragingly archaic plot choices.
  19. Pet Sematary: Bloodlines
    The generic moniker proves accurately foreboding for the run-of-the-mill film, one that desperately latches onto the goodwill of a familiar title but has nothing meaningful to add to its legacy.
  20. Brick
    Sadly, even a perfectly workable premise needs engaging writing, directing and performances to bring it to life, and in this capacity, Netflix’s new feature Brick is as utterly inert as its title–likewise reused from Rian Johnson’s far more interesting high school neo-noir from 2005.
    • 41 Metascore
    • 30 Critic Score
    Black Adam
    It all adds up to another frantic grab by a studio desperate to wring success from a superhero universe they’ve never fully understood.
  22. Red Notice
    What wants to be a James-Bond-derivative blockbuster ends up being more like The Hitman’s Bodyguard, an unintentional pastiche with somehow even lower stakes. Yes, it’s possible.
  23. Shaky Shivers
    This inept, unpleasant, cobbled-together debut only reveals its first-time helmer as a Dr. Frankenstein about to lose his license.
  24. The Estate
    Without any actual classicism to accompany Craig’s outdated notions of outrageousness, the movie quickly turns fustier than its edgy posturing lets on. Craig simply watches a bunch of selfish people behave badly in predictable ways, and occasionally has them lunge at each other in anger. How perfectly droll!
  25. Wish Upon
    Wish Upon’s plotting is all too arbitrary to be earnestly enjoyable.
  26. Suncoast
    While there is a literal amount of truth running through the semi-autobiographical Suncoast, its glossy, uncertain cutesiness is as fake as Ron DeSantis’ height.
  27. Transformers: The Last Knight
    All the signature Bay Movements are here, the slow-motion hero shots, the scale so vast that even planets look small and modest, the aggressively dorky jokes, but they all have a perfunctory feel, like even Bay couldn’t muster up much enthusiasm this time.
  28. The Happytime Murders
    What’s immediately surprising and dispiriting about The Happytime Murders is how haphazard the actual puppets are. They aren’t inventively or cleverly put together, and they’re sort of repulsive in a way that’s less “edgy” and more “consistently unpleasant to look at.”
  29. Black Butterfly
    Black Butterfly plays as little more than the act of snickering adolescents toying with their audience, complete with an insulting final scene that confirms the film as a total waste of time.
  30. The Union
    The movie seems to pre-suppose that in our desperation to spend time with Wahlberg and Berry, any empty stupid simulacra will suffice as an excuse.
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