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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  1. AGGRO DR1FT
    Aggro Dr1ft is less interesting than the video game cutscene it resembles, padded by a narrative peppered with the tropes of a hit man action film but lacking substance.
  2. Dark Harvest
    For what it’s doing and for how visually appealing it can be, Dark Harvest delivers October ickiness with a crooked smile.
  3. Dear David
    You can’t fault an attempt to transform a viral sensation into the next bonkers realization of contemporary horror that exploits our ever-volatile online climate—but you can always fault a genre film that doesn’t do the chosen genre justice.
  4. Blue Giant
    Blue Giant is a somewhat tropey story that captures its characters’ big feelings, and its incorporation of live combo recordings contributes something unique to the steadily growing canon of musical anime. While not quite the feature I would’ve expected from Tachikawa after Mob Psycho 100, it’s a strong next step in the director’s career.
  5. Plan C
    Tragos and her brave, badass subjects spend almost all of Plan C zipping through explanations of a constantly evolving abortion landscape.
  6. 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.
  7. Janet Planet
    The many great scenes in Janet Planet underscore the frustrations of its few bad ones: Even an emotionally tumultuous childhood can be a lot more absorbing than the indulgences of the adult world.
  8. The Beast
    Despite Seydoux’s uniquely magnetic ennui – could any other contemporary actress imbue a beautifully bored model with such empathy? — and MacKay’s gameness to bring a little nuance to a real creep in the 2014 section, The Beast has an undercurrent of restlessness, maybe even listlessness.
  9. La Chimera
    The dreaminess, a clear evocation of Fellini, feels well-worn and contrived instead of exciting, coasting on aesthetics.
  10. Foe
    Perhaps what was once haunting and unsettling on the book page has not, in more overt staging, translated well to the screen.
  11. Evil Does Not Exist
    Hamaguchi’s film – and the performance style of Omika, a Hamaguchi crew member moving into acting here – is too controlled to produce an anguished tragedy out of this material, but it’s too unsparing to offer an easy exit.
  12. The Royal Hotel
    [Green's] new film The Royal Hotel could be summed up as Smile More: The Movie, which grounds a clash between two globe-separated cultures in old-time misogynist tropes that know no geographic borders. Like The Assistant, the movie revolves around women in the presence of atmospheric male domination. Gendered maltreatment is in the very air they breathe.
    • 76 Metascore
    • 68 Critic Score
    Flora and Son
    Luckily, Hewson’s grounded performance and Carney’s witty script largely succeed in keeping this treacly dramedy afloat.
  14. The Exorcist: Believer
    Though Green may alienate some audiences with choices nowhere near as terrifying as William Friedkin’s original, something about the film’s heart endears beyond another exorcism retread satisfied to follow the same blasphemous beats.
  15. Appendage
    Zlokovic’s film misses the point of celebratory tongue-in-cheek referentialism, not to the point where the horror cinema gods will force reassessment of The Babadook’s status as a contemporary classic, but enough to cheapen everything of merit about Appendage.
  16. Do Not Expect Too Much From the End of the World
    Radu Jude’s literalized mouthful Do Not Expect Too Much from the End of the World depicts, perhaps, the most accurate representation of the dystopia we live in, and the supposed impending dystopia that we’re in the process of arriving at.
  17. Where the Devil Roams
    The payoff is grand, as a macabre exercise and a moving gut punch.
  18. The Taste of Things
    The Taste of Things is, in basic terms, a very nice and sweet movie, although Dodin’s grief as the paramours suffer tragedy in their autumn years is emotionally punishing. But there’s not necessarily anything wrong with a movie being “very nice and sweet,” especially one as lovingly crafted as this.
  19. V/H/S/85
    We're presented with a mixed bag that feels emblematic of the series itself: Peaks and valleys have always been the norm.
  20. All of Us Strangers
    A lot of movies attempt to replicate the experience of a dream; this one situates itself right on the edge, whether ecstatic or delirious or stricken, of waking up.
  21. Saw X
    It’s torture-forward, funny, preposterous, imaginative and puts into practice what the franchise should have learned a long, long time ago: There is no reason to reinvent the saw blade.
  22. Mami Wata
    A few key performances and a filmmaker with a clear vision unite for a film that truly feels fantastical, like someone somehow snuck a camera as they were falling into a holy reverie.
  23. The Sweet East
    I found myself oscillating between being impressed by The Sweet East and feeling like it was trying very hard to impress me. And it did, though probably less than it intended.
  24. Wildcat
    Regrettably, a gross number of missteps overshadow the Hawkes’ good intentions with this film. Even without Maya Hawke’s frumpy hag drag as O’Connor, complete with too-large dentures and an unfortunate wig, the lack of creative risk taken by the filmmakers, as well as the lack of research done by the team, sinks Wildcat before it gets started.
  25. Expend4bles
    If Stallone has gone through long stretches of unrelatability in his worst movies, The Expendables 4 does bring him back him down to the common man with its flashes of dorky buddy-movie glee: Hey, I like Jason Statham too!
  26. The Creator
    For a designated last great hope of original sci-fi, this is a surprisingly programmatic picture.
    • 65 Metascore
    • 65 Critic Score
    Relax, I'm from the Future
    Rhys Darby’s charm, some decent jokes, and a handful of interesting theories save Relax, I’m from the Future from being a total slog, but its unfocused script and unexplored ideas hold it back from greatness.
    • 61 Metascore
    • 50 Critic Score
    My Sailor, My Love
    Despite walking well-tread but welcome ground, My Sailor, My Love never fully takes advantage of the comfort that comes with repeating familiar story beats.
  29. Spy Kids: Armageddon
    The lessons are sweet, the kid actors are cute, and the kid audience will probably enjoy it accordingly. Whether it sticks in their memory for 20 years or even a few months, though, is another question entirely.
  30. No One Will Save You
    While its minimalist approach keys into creepy unknown anxieties about our extraterrestrial neighbors, Duffield’s signature dose of emotional heft floats away into the clouds this time around.
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