Paste Magazine's Scores

Select another publication »
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
view
per page
  1. Stress Positions
    Going against the grain of a cultural landscape desperate to pretend like the COVID-19 pandemic never happened, Hammel dives headfirst into her exploration of the specific ways the universal experience of lockdown drove us all insane.
  2. Arcadian
    Arcadian isn’t a time-waster, but its execution is too rote and unimaginative to warrant its existence as another addition to our post-apocalypse glut.
  3. Sting
    Sting is sweet, silly and savage in sectioned bursts, but fails to pull everything into an intricately woven web of creepy-crawly terrors.
  4. Civil War
    A fresh take on how our hyper-connected world observes catastrophe would rightly pick at this scab. But Alex Garland approaches this modern hopelessness with impersonal detachment, dreaming up an empty war filmed for no one.
  5. Baghead
    Baghead is moody and atmospheric enough (if low on scares) for about the first hour.
  6. The First Omen
    The First Omen is an exceedingly successful first feature, and an invigorating film within a genre’s increasingly limp mainstream.
  7. Scoop
    As a newsroom drama, Scoop succeeds with its taut presentation of the negotiations and the egos at play when executing an interview of this caliber.
  8. Blackout
    As is, the film balances its talkative side with its gory side nicely. Wanting more isn’t the worst feeling a film can leave you with.
  9. The Tearsmith
    Hopefully if they make a second installment in The Tearsmith series, those behind it will dare to step a little further outside of their self-imposed genre restrictions.
    • 69 Metascore
    • 65 Critic Score
    The Old Oak
    Though still a damning portrait of a country that has delivered its poor to the free market, The Old Oak is a comparatively gentle, reflective and even tentatively hopeful work.
  11. The People's Joker
    It’s a funky, janky, raw piece of autobiography, masquerading as the only thing the film industry makes anymore: A superhero movie. The riotous and weaponized result is everything the corporate use of the Joker isn’t, and everything it could be.
  12. The Greatest Hits
    The Greatest Hits boasts a compelling and original high-concept plot, but, as can be the case with high concept plots, this leads to much of the film’s first act being occupied by exhausting exposition.
  13. A Different Man
    A Different Man is a major work—even as it shapeshifts from Cronenberg to Kaurismäki, developing into new territory at every turn, Schimberg never loses sight of his central questions: What makes us who we are? What does it mean to be a good person in this weird but beautiful world, surrounded by other people?
  14. 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.
    • 47 Metascore
    • 51 Critic Score
    Godzilla x Kong: The New Empire
    At no point does Godzilla x Kong skimp on the kaiju action, but despite—or, perhaps, because of—this Titanic overabundance, it never quite feels big enough.
  16. In the Land of Saints and Sinners
    As movies about a Liam Neeson character marinating in regrets before punching and shooting his way out of immediate danger go, this is a pretty good one, by which I mean at one point Neeson smokes a pipe while driving a car. It’s also Lorenz’s best as a director by a fair margin, a movie that feels inspired by Eastwood and old Westerns, but not beholden to them.
  17. Femme
    Femme acknowledges its tropes and clichés; the film never soft-shoes the important part they play in its structure. What it does with them, though, feels fresh. Revenge is often ill-advised, even nihilistic. Femme’s revenge is a stamped guarantee of self-destruction.
  18. Riddle of Fire
    Life for today’s young’uns is frankly terrifying, even if they aren’t literally living inside a horror film, with overarching threats to their future dotted by day-to-day micro-threats. In its unassuming way as real-world fantasy, Weston Razooli’s Riddle of Fire is sensitive to these plights, and casually rejects didactic allegory about them.
  19. Free Time
    Free Time, writer/director Ryan Martin Brown’s debut feature film, is so funny precisely because we all know this guy, and on some level, we can identify with his directionless struggle.
  20. Limbo
    A return to form for writer/director Ivan Sen—an Indigenous Australian filmmaker whose 2013 movie Mystery Road, its sequel and its miniseries spin-off all deal with similar subject matter—this cold-case thriller hacks through its genre clichés and Christian symbolism early so we can appreciate its charming, somber core.
  21. Road House
    Even though the films feel tonally different, this new Road House is exactly what you’d hope for from a new iteration of an ‘80s classic: A lot of fun and excitement without any real consequences.
  22. Ghostbusters: Frozen Empire
    Ghostbusters: Frozen Empire doubles down, fully committing to its existence as a cynical nostalgia raid masquerading as a movie.
  23. 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.
  24. You'll Never Find Me
    Bell and Allen employ big ambitions in a confined area, treating stranger-danger paranoias with an elevated supernatural presentation that’s frightening—maybe a bit overlong—but undeniably effective.
  25. Late Night with the Devil
    Thanks to its commitment to the ‘70s made-for-TV bit, ever-escalating stakes and nervously swaggering lead performance, the ratings ploy from Hell finds substance inside its shtick.
    • 57 Metascore
    • 65 Critic Score
    Shirley
    As a character study, it repeatedly points out contradictions in Chisholm that it refuses to interrogate for fear it will come off as critical. The result is a hagiography with some obvious holes, something that a better film might try to balance.
  27. Arthur the King
    A frequently heartstring-tugging inspirational dog movie that does little to excel beyond acceptability yet manages to not be a complete drag to watch.
  28. Irish Wish
    Irish Wish reaffirms that Lohan still has command over her acting talents.
  29. Snack Shack
    This sentimentalization plagues so many nostalgia pieces aimed at ex-kids, though at least a movie that ultimately pushes its luck and stalls out befits the high-rolling teenagers at its center. Most of Snack Shack is a winning scheme.
  30. Frida
    While it’s admittedly beguiling to gain access to Kahlo’s innermost thoughts and genuine feelings, her diary has long been available to peruse, making Gutiérrez’s approach safe and somewhat stale.
Page:

Top Trailers

See all »
See all trailers »