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 3.4 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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    • 43 Metascore
    • 40 Critic Score
    Back to Black
    Sam Taylor-Johnson’s Back to Black—her attempt at telling the taboo tale of one of music’s most tragic figures, Amy Winehouse—leans too much into the dark cloud looming over the singer’s sad demise, in turn fumbling what could’ve been a rare, successful dramatization of fame and addiction.
  2. Power
    When Power sticks to its experts, its case is compellingly assembled, its points lucidly made (backed up with archival images) and its unspoken importance undeniable.
  3. IF
    The movie gets so wrapped up in sorting through the whimsical bureaucracy of discarded IFs that it forgets to create an actual world to hide it under.
    • 72 Metascore
    • 70 Critic Score
    Babes
    By the time the title credits for Babes slide in on the hospital elevator doors, Dawn has left a steady, hilarious stream of screams and fluids in her wake.
  5. Gasoline Rainbow
    While the youth are still game to rebel, the film’s calculated spontaneity leaves its travelers stranded in search of something real, an ironically contrived quest whose very undertaking undermines its goal
  6. I Saw the TV Glow
    Not every story needs to follow the hero’s journey, but it’s a bold choice to craft a main character who does nothing but reject the call to adventure. Poignant? Perhaps. Entertaining? Less so.
  7. Mother of the Bride
    Misunderstandings abound in this ultra-lite comedy of errors. Physical pratfalls (think groin area injuries) get a lot of screen time. But there are moments where Mother of the Bride digs a little deeper, especially when it comes to Lana and Emma’s relationship.
  8. Kingdom of the Planet of the Apes
    After 55 years of different directions, this is far from the most exciting Planet of the Apes has been, but it’s also far from the worst, and I’m open to seeing wherever this leads.
  9. Space: The Longest Goodbye
    What initially feels like a budget presentation about the issues of being stuck in space and several proposed solutions (explored at various lengths) ends up feeling both too structured and, eventually, too scattered for its fascinating yet still speculative subject matter.
  10. Sing Sing
    Greg Kwedar’s sensitive, joyous Sing Sing does more than simply dramatize the workings of the RTA program, it incorporates participants into the very fabric of the film’s DNA.
  11. Mars Express
    The noir thriller takes us on a contemplative tour of a thoughtfully considered future, where traveling between Lunar and Martian colonies is as easy as flight today.
  12. The Fall Guy
    Thanks to Gosling—playing his role like his schmuck detective from The Nice Guys accidentally found himself in a Mission: Impossible—the film breezily flits between a savvy behind-the-scenes pastiche and a committed action rom-com.
  13. Unfrosted
    If there’s one apt element Seinfeld and company bring to Unfrosted, it’s that they knowingly treat it like a bunch of silly bullshit.
  14. Turtles All the Way Down
    Execution isn’t the problem here—the acting, direction, editing, set design and costuming are all done well enough. It’s that these elements add up to something that doesn’t feel subversive at all, just vaguely aware of itself.
    • 61 Metascore
    • 59 Critic Score
    Remembering Gene Wilder
    It’s unclear whether Frank actually wants to make sense of his subject’s complexities, but regardless, Remembering Gene Wilder doesn’t succeed. Its center remains unknowable, conceivable only in brief flashes.
    • 67 Metascore
    • 80 Critic Score
    The Idea of You
    Hathaway, who produced The Idea of You, provides a solid center to the film, with the steamy romance plot coming second only to Solène’s character development.
  17. Boy Kills World
    Overlong and overstimulating, the entire film is like a giant, immersive eyesore.
  18. Humane
    It’s solid, and at its best it’s an impishly entertaining little thriller. But all the talent in the world can’t overcome the feeling that there is more here to be mined, if only Humane had dug just a little deeper.
  19. The Feeling That the Time for Doing Something Has Passed
    The Feeling That the Time for Doing Something Has Past beautifully observes how the ridiculous mundanities of being alive are some of the most difficult.
  20. Challengers
    Challengers surprised me. It’s a grandiose, propulsive, erotic follow-up to the dull, Tumblr-core emo of Bones and All, and I found myself enthralled by Guadagnino’s latest, in which three of our hottest young actors convincingly, tantalizingly explore alternating dynamics of power and sexuality
  21. Infested
    Arachnophobes beware: Infested is the best spider-centric horror movie since Arachnophobia.
  22. Rebel Moon Part 2: The Scargiver
    If watching Rebel Moon—Part One was over before it started, Part Two is a miserable exercise in unearned hubris.
  23. Abigail
    Abigail is a brutal, bloody blast.
  24. I Like Movies
    Writer/director Chandler Levack finds uncommon honesty in this Canadian video store employee and those he chafes against, even if the coming-of-age story eventually falls into some of the more palatable pitfalls its strident star would rail against.
  25. Blood for Dust
    Blood for Dust is a satisfactory interpretation of American hardships and making ends meet, one that’s been done plenty better and worse elsewhere.
  26. We Grown Now
    Writer/director Minhal Baig’s ‘90s coming-of-age drama is one of realistic warmth, rumbling hopes and roadblocks jutting up in front of children whose very existence is defiant.
  27. All You Need Is Death
    The power of Fouéré’s performance echoes across the film to its gruesome, tragic ending – further supporting evidence of the past’s grip strength on people of any generation.
  28. The Ministry of Ungentlemanly Warfare
    For Ritchie, though, the stolidness is an experiment and, in The Ministry of Ungentlemanly Warfare at least, a reasonably effective one.
  29. Yannick
    Buried under Yannick’s aggression and chafed emotions, he’s wanting for the basic need of being understood. This side of Yannick enhances Dupieux’s critique with a casual observation: Art is freeing, and without it, we’re doomed to lonesome misery.
  30. Sasquatch Sunset
    As much as I delighted in the whimsy, chuckled at the art-house ambiguity and applauded two men’s depiction of how taxing it is to be a woman, I couldn’t get past her pain and suffering.
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