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. Enys Men
    As soon as you unearth a place’s past, it lives on in you—changes you. This is the heart of folk horror that Enys Men speaks to, but its dull, repetitive, padded delivery of images makes its genre findings (in words British enough to befit the film) weak tea.
  2. John Wick: Chapter 4
    Everything on screen is stupendous. This is what we want, to watch John Wick murder the whole world, forever and ever amen.
  3. A Good Person
    A Good Person winds up with the ambition of a novel, but little of the richness.
  4. Leave
    Leave tells a story about the monsters of humanity, but is shy about terrifying its audience—a tragic flaw that cuts the genre’s volume like unplugging an amplifier mid-performance.
  5. Joy Ride
    With its team assembled, Joy Ride descends into a fearless and unpredictable romp packed to the brim with absurd and unapologetically raunchy humor.
  6. The Magician's Elephant
    Netflix’s adaptation of author Kate DiCamillo’s The Magician’s Elephant makes some fatal tone mistakes in trying to smoosh together comedy, tragedy, childhood wonder and animal exploitation—which clash pretty hard.
  7. Problemista
    This fearless, authentic debut showcases immense command of a unique and inventive form of humor, while touching on a very real issue with heart and candor.
  8. National Anthem
    The beauty of National Anthem is that it effortlessly challenges all expectations and preconceived notions.
  9. Evil Dead Rise
    The first film to grace the beloved franchise in a decade, Evil Dead Rise is everything you could ask for from an Evil Dead flick: It’s disgusting enough to make you physically recoil, it’s funny as hell and, perhaps most importantly, it might just wield more blood than I’ve ever seen in a movie.
  10. Brooklyn 45
    If you’re lucky enough to feel the presence built by this film, you’ll find one of the most rewarding and impressive genre films of the year so far, and proof that Geoghegan has plenty more to offer us as a horror storyteller.
  11. Shazam! Fury of the Gods
    Is it a tragedy of genre saturation, both movie-haltingly flashy and deeply unimpressive. Everything is constantly moving and you don’t feel a thing.
  12. Tetris
    Tetris is repetitive, melodramatic and surprisingly uneventful.
  13. Boston Strangler
    Ruskin’s examination of the social and political elements that enabled the Strangler, and which held people like McLaughlin in contempt for attempting to serve the public good, is bold. In his next film, he should apply that same boldness toward an aesthetic purpose, too.
  14. Raging Grace
    Thanks to a persistently effective sense of atmosphere and a great cast, these elements coalesce into a compelling, often unpredictable horror story, and announce Zarcilla as an exciting genre voice to watch.
  15. Moving On
    As they often do, Tomlin and Fonda make their material look sharper than it really is.
  16. Inside
    Inside‘s concept holds creative possibility, yes, but without much, if any, applied, it’s just a guy stuck in an apartment for 105 minutes, going through various stages of disbelief, acceptance, mania, determination and setback as days, weeks and months go by, and desperation becomes more of a necessity than a last resort.
  17. Bottoms
    With the help of Sennott, who co-wrote the script, Seligman squeezes every ounce of humor out of each of the film’s thoughtfully-crafted scenarios—for better or worse.
  18. Unwelcome
    Where Grabbers is a raucous gem, Unwelcome is subdued, more polished but sadder.
  19. Scream VI
    What Scream VI ultimately lacks, on the other hand, is a clear sense of what it’s trying to say beyond the literal plot unfolding on screen.
  20. 65
    Beck and Woods seem to have an entirely misguided conception of what people love about B-movies in the first place and, like A Quiet Place, 65 flounders in this middle ground because it won’t commit to being a genre film.
  21. Unicorn Wars
    A story about drug addiction, corrupt authorities, and environmental collapse sounds grim on paper and plays grim on screen, but Unicorn Wars is more than “grim.” It’s deranged.
    • 42 Metascore
    • 40 Critic Score
    A Little White Lie
    All of A Little White Lie’s problems can be summarized by Alex Wurman’s score. At first promising, inviting and light to compliment the fundamental cheeriness of the genre, it becomes all-encompassing, bearing down on the viewer with a menacing edge.
  23. Children of the Corn
    Kurt Wimmer’s newfangled Children of the Corn is a rotten husk of a Stephen King adaptation.
  24. The Civil Dead
    The Civil Dead sounds like a buddy comedy on the surface, but Tatum and Thomas pull a bait-and-switch, with the film ending up much sadder than expected (while still quite funny) and even evoking elements of The Banshees of Inisherin.
  25. Operation Fortune: Ruse de Guerre
    Either Ritchie didn’t bring his typical slickness for the ride, or he’s chopped up Operation Fortune: Ruse de Guerre intentionally to take the piss out of the genre. The effect at least feels more like comfort than boredom.
  26. Creed III
    Even when Creed III treads familiar ground, this series feels like the ideal outlet for the on-screen persona Jordan is building: a resilient man who needs to better understand the power he’s fought so hard for.
  27. Bruiser
    Warren’s craftsmanship keeps the audience from swallowing a breath. He’s a merciless filmmaker, deeply considerate of his choices in staging and casting.
    • 85 Metascore
    • 82 Critic Score
    Alcarràs
    Simón’s first feature film, Summer 1993, was praised for her seamless blending of real life and fiction, crafting a sense of earned authenticity. Alcarràs accomplishes something similar.
    • 53 Metascore
    • 68 Critic Score
    Luther: The Fallen Sun
    Nobody watched Luther for serious social commentary or a moral compass—you watched it because Idris Elba is a beautiful man with arguably the world’s best voice ,and you got to see him catch bad guys played by other good actors. On that level, Luther: The Fallen Sun delivers.
  30. Marlowe
    The 70-year-old Neeson lacks both the physical stamina and charisma to pull off the Marlowe character; his fight and action sequences are sluggish and incredulous, and there’s zero chemistry between Marlowe and Clare Cavendish (Diane Kruger), the beautiful blond who hires him to investigate the sudden disappearance of her former lover Nico Peterson.
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