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. The Wrath of Becky
    It’s possible to fuse pulp with prestige while still saying smart things about the seismic political shifts required for creeps like the Proud Boys to skitter from the rocks they live under and infest society’s better elements. The Wrath of Becky makes no such effort. It’s built to thrill and made for chuckles, offset by Seann William Scott’s looming menace.
  2. Four Daughters
    What Four Daughters does do, it does brilliantly. Ben Hania and her subjects give us a profound live window into the cycle of trauma and, in doing so, radically trace an under-recognized path between deeply personal pain and dogmatic extremism.
  3. The Little Mermaid
    In the end, does a live-action The Little Mermaid feel vital? No. It gives fans of the animated original pretty much the same movie, beat for beat, with some slight adjustments that score on the positive side.
  4. The Eight Mountains
    Brilliant landscape photography and two pairs of poignant performances elevate the drama to an enjoyable distance above sea level.
    • 89 Metascore
    • 85 Critic Score
    Killers of the Flower Moon
    In his 80th year, Martin Scorsese remains a master of craft and storytelling, and while Killers of the Flower Moon may not rise to the greatest levels of his near-peerless canon, it’s still a more than worthy addition to his filmography.
    • 58 Metascore
    • 70 Critic Score
    Indiana Jones and the Dial of Destiny
    Indiana Jones and the Dial of Destiny may be the least of the Indy films, but it’s still a worthy chapter that does more to expand than to stultify.
  7. Victim/Suspect
    Victim/Suspect manages to be at once fascinating, improperly focused and somewhat redundant.
  8. White Men Can't Jump
    The confused comedy waddles onto the court as confidently as a kid in an oversized hand-me-down jersey. But why would this derivative filmmaking aspire to anything else? It’s all just set dressing for Jack Harlow’s brick of a big-screen debut.
  9. Fast X
    If you like fight scenes, fast cars and great actresses appearing for brief periods to give exposition, do I have a movie for you. Fast X asks you to shift your brain into low gear, power over a bumpy road of uneven dialogue, and hang on for some tight turns and incredible leaps—in the air and in logic.
  10. Sanctuary
    Ultimately, Sanctuary’s psychology—which I found a bit muddled at times—is less persuasive than the artistry of shifting, gendered dynamics between Hal and Rebecca, and less enthralling than watching Abbott and Qualley play off of one another.
  11. Fool's Paradise
    Fool’s Paradise doesn’t come close to clearing the self-imposed hurdle of matching a Chaplin classic or an Ashby satire. But it does sometimes work as a breezy comedy and a satire-lite of vacuous Hollywood, articulated tenfold by the modern Superhero Franchise Industrial Complex.
  12. Still: A Michael J. Fox Movie
    The approach and tone is decidedly non-maudlin, and determinedly hopeful despite capturing the staggering hardships Fox faces simply navigating an average day.
  13. Knights of the Zodiac
    This live-action co-production between Sony and a Japanese animation studio begins with the colorful bounce of Paul W.S. Anderson directing a cosmic X-Men knockoff, and quickly runs out of gas in a way that resembles the worst of Sony’s Screen Gems genre arm.
  14. Crater
    Because the script never lightens up on these non-stop angst moments, Crater suffers from a case of tonal whiplash. One entertaining set piece of jet-pack play or a scene with the kids binge-eating a stash of never-before-eaten foods can’t possibly overcome the tsunami of melancholic moments the adult filmmakers can’t seem to stop indulging in.
  15. BlackBerry
    This is all the makings of Oscar gold, rife with the story beats that The Social Network codified—and even succeeds in some clever elliptical storytelling, the stuff that makes award bodies shiver—but Johnson’s and Raab’s aesthetic consistently pulls the iconism of the story into messier immediacy.
  16. The Mother
    Lopez indulges a different form of movie-star vanity than simply making herself over as an unstoppable woman of action. The movie pretends to conceal her mothering sensitivity, but it’s actually flaunting the same maudlin old-man sentimentality that drives so many Liam Neeson vehicles, minus the genuine anguish Neeson can usually summon on cue.
  17. Hypnotic
    Blended with its 2000s plot points are the expedience, blunt dialogue and noirish venetian-blind shadows of a mid-to-lower-tier 1940s genre picture – with Affleck affecting a ragged, lummox-y dignity in the lead. If this doesn’t sound actually good, well, Hypnotic is a modest picture; that’s part of its appeal, if applicable.
  18. The Starling Girl
    Scanlen’s searing performance elevates The Starling Girl from just being a familiar story into something far more interesting and compelling.
  19. 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.
  20. Chile '76
    The sensation of the film, on the other hand, is suspicion, the relentless and sickening notion that nobody can be trusted. Whether the thrumming electronic soundtrack or Rodríguez’s photography, composed to the point of feeling suffocating, Chile ’76 drives that anxiety like a knife in the heart.
  21. Love Again
    It misses the painful performance of everyday life, or less Hallmark-friendly emotions, like anger or numbness.
    • 78 Metascore
    • 80 Critic Score
    Queens of the Qing Dynasty
    Queens of the Qing Dynasty is a unique film with a distinct voice, a brave example of queerness existing beyond sexuality at many different confluences. Though the follow-through is not as dynamic as I’d like, and the duration sometimes drags, the film takes big swings.
  23. Peter Pan & Wendy
    I can’t imagine any child actually enjoying this film, let alone a child who is familiar with and fond of the original animated adaptation.
  24. Guardians of the Galaxy Vol. 3
    Worlds are squandered, details are overlooked and, yes, there’s a CGI swarm. For better or worse, and much like the MCU at large, Guardians of the Galaxy Vol. 3 has a lot going on.
  25. Are You There God? It's Me, Margaret
    Margaret’s journey of self-discovery is a fascinating and satisfying watch.
  26. The Tank
    Unfortunately, The Tank’s take on the “creature” component of “creature feature” is so muscular in execution and performance that Walker’s slow-burn approach does his team’s efforts an unintended disservice.
  27. From Black
    Marchese and Flower are clearly aware of the potential that their set-up has, and in attempting to submerge themselves fully into both themes, ultimately commit to neither.
  28. Judy Blume Forever
    The documentary gives us the life story of Blume, from childhood to now, presenting a fully-formed human looking back on a stellar career that just happened to reinvent young adult fiction.
  29. Other People's Children
    Other People’s Children doesn’t merely focus on a woman weighing her options when it comes to the prospect of motherhood; it also exemplifies the myriad ways that we can foster genuine, compassionate bonds with kids—particularly those acting outside the “parent” label.
    • 81 Metascore
    • 85 Critic Score
    Little Richard: I Am Everything
    Elegantly shifting her lens between Little Richard’s biography and the history of the music that sprung forth from him, Cortés traces a nearly impossible trajectory without losing a grounded sense of context.
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