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. House Party
    With House Party, Calmatic jumps from a prolific music video career to feature filmmaking with the same energy, leading to shorter-burst storytelling that values standout moments over longevity.
  2. The Pale Blue Eye
    It’s a sluggishly slow murder-mystery without much tension, one holding a candle to Poe’s work Nevermore.
  3. M3GAN
    M3GAN’s most impressive feat, at the end of the day, is that it gives us cinematic sickos exactly what we want without sacrificing greatness in the process. And yes, what we want is a breakdancing, murderous doll. Is that such a crime?
  4. The Old Way
    When Donowho brings The Old Way back to the well-trod ground of old Westerns, it’s just plain old.
  5. Corsage
    Brought to life through Kreutzer’s skillful direction and Krieps’ earnest performance, this surprising royal reimagining offers a fresh perspective on an elusive historical figure.
  6. Women Talking
    A movie like this shouldn’t be so ambivalent, much less so harsh on the eye.
  7. Roald Dahl's Matilda The Musical
    Just give yourself over the utter weirdness.
  8. Babylon
    Through all its filth, cynicism and poison-inked vengeance, Babylon cannot help but to be a devoted worshiper at the altar of cinema—and its admiration proves infectious.
  9. Scare Package II: Rad Chad's Revenge
    It’s in-joke heavy, tailoring an experience that tears iconic dialogue from classic predecessors and slathers on the meta-overload like popcorn swimming in clarified butter.
  10. No Bears
    While 3 Faces explores the social position of women in Iran through oft-whimsical encounters as Panahi drives across northwestern Iran with actress Behnaz Jafari (also playing herself), No Bears feels much more darkly prophetic, seemingly aware of the filmmaker’s encroaching imprisonment.
    • 73 Metascore
    • 85 Critic Score
    Puss in Boots: The Last Wish
    What could have easily been a hairball of half-digested nostalgia is transformed into a mature and cat-ivating story that positively purrs.
  12. The Apology
    Even with intense performances from Anna Gunn (Breaking Bad) and Linus Roache (Law & Order) guiding the action, the film would be far more effective as a taut short than a filled-out feature.
  13. Avatar: The Way of Water
    The Way of Water’s true achievement is that it looks like nothing else but the first Avatar, unparalleled in detail and scale, a devouring enterprise all to itself. Watching The Way of Water can at times feel astonishing, as if the brain gapes at the sheer amount of physical data present in every frame, incapable of consuming it, but longing to keep up.
  14. The Whale
    Despite Fraser donning anywhere between 50 and 300 pounds of prosthetic fat for his role, Charlie lacks a fleshed-out interiority that, unfortunately, reflects Hunter’s original material.
  15. Guillermo Del Toro’s Pinocchio
    The stop-motion musical is an artistic triumph that colors Collodi’s cherished storybook characters with humanity and depth to craft a mature tale about rebellion, mortality and the love between a parent and child.
  16. To the End
    Throughout, Lears is all over the place. When To the End focuses on climate change deniers, it can be cathartically searing.
  17. Empire of Light
    By the end of Light, Mendes has taken his message a little too literally.
  18. Christmas Bloody Christmas
    It’s a lean, efficient, no-frills film, and that’s as it should be. Begos rejects pretense. He’s making his version of a psycho Santa flick, no more, no less. But the logline’s comic absurdity and the execution of his premise is so straightforward that Christmas Bloody Christmas feels fresh among the season’s horror canon. It’s a Christmas miracle.
  19. Something from Tiffany's
    Nobody expects all Christmas movies to be masterpieces. But it’s hard not to be disappointed by low-energy affairs like Tiffany’s, which is nothing more than a mindless attempt at adhering to the Christmas movie algorithm. Even the Grinch would probably ask for something more.
  20. Hunt
    Lee’s making finely tuned action here; organizing history lessons isn’t his job. But the ferocity of Hunt’s combined action and momentum let him bristle over past atrocities even if those atrocities aren’t his focal point.
  21. The Leech
    The Leech is a seedy, nefarious and scrappy morality tale that excels on the backs of its big-swinging performers.
  22. Lady Chatterley's Lover
    At face value, Lady Chatterley’s Lover works well enough as a love story: It’s sweet, moderately sexy and sticks pretty religiously to Lawrence’s compelling story. But for a film based on a book that scandalized thousands, it will undoubtedly leave its viewer wanting more.
  23. Emancipation
    The movie isn’t quite evocative enough to work as effective minimalism. It averages out a stripped-down Smith and the more florid filmmaking touches to land squarely in the middle of the road.
  24. Framing Agnes
    While the conceit is clever, these are not new storytelling techniques for documentary or fiction, and in Framing Agnes, they lack a certain follow-through.
  25. 2nd Chance
    Even if it feels a bit too neat and tidy and predetermined a metaphor, one has to appreciate 2nd Chance’s ogling commitment to dissecting a perfectly American parasite.
  26. A Wounded Fawn
    As the film takes a turn into what it’s really about, A Wounded Fawn reveals that there’s something much darker and stranger than a by-the-numbers killer-in-the-house tale at work here, and what starts as familiar quickly becomes one of the most memorable horror films of the year.
  27. Violent Night
    Violent Night isn’t a great action movie, or even a very good one, but George Costanza’s old assessment of Home Alone rings true: “The old man got to me!”
  28. Sick of Myself
    Sick of Myself reminds us to question the ulterior motive and points out the inherent narcissistic intent behind the urge to “tell your story,” both within ourselves and in others.
  29. The Fabelmans
    It’d be disrespectful to those left behind if you gave your art anything but your best shot. The Fabelmans makes the bargain look painful, self-centered and utterly joyful—a genius embracing his regrets and in so doing, reminding us of how lucky we are that we all pay some version of this price, for ourselves and for one another.
  30. The Son
    Zeller is clearly more experienced as a writer than a director, but even his ability to extract the powerful (if stagey) performances we saw in The Father is missing here, as everyone just insists their lines upon each other with tones borrowed from shouty amateur theater.
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