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. Samaritan
    The Boys, Samaritan is not. But even a failed attempt at making a superhero movie out of whole cloth rather than pre-existing IP is welcome, particularly one that challenges the genre’s mores.
  2. The Invitation
    The Invitation takes way too long getting to its most interesting ideas, leaving us with the distinct feeling of “too little, too late.”
  3. Three Thousand Years of Longing
    In its loopy, beguiling, occasionally befuddling way, Three Thousand Years of Longing feels like it’s trying—and sometimes failing—to sum something up about Miller’s own history of loving strange movie magic.
  4. The Territory
    There is plenty of upsetting evidence concerning humanity’s vile indifference to ecological disaster and genocide in The Territory, but there is just as much hope for the future, even if all we have is a meager fighting chance.
  5. Dragon Ball Super: Super Hero
    The look of Dragon Ball is changing, and Super Hero represents its growing pains. But it also represents a willingness to look its longevity in the face and, like all long-running serials, see what passing the torch once again really means.
  6. Spin Me Round
    Ambiguous, open-ended storytelling is by no means a defect in its own right, but Spin Me Round becomes increasingly frustrating in its tendency to introduce narrative tangents without any intention to elaborate or connect them.
  7. The Legend of Molly Johnson
    As a piece of revisionist mythmaking, the film employs a staunchly feminist, Aboriginal liberationist lens, one perfectly molded for Purcell’s specific gaze.
  8. Look Both Ways
    Look Both Ways feverishly whittles itself down to ensure that it keeps a wide berth from anything unsavory or controversial. The dishonesty that comes along with that timidity is a much tougher pill to swallow than the truths that might have arisen otherwise.
  9. Orphan: First Kill
    Orphan: First Kill isn’t an especially scary movie, nor is its class-war commentary especially subtle or insightful. Through sheer force of personality, though, these elements are rendered immaterial. Like Esther, the movie has a keen sense of how to weaponize its own audacity.
  10. When I Consume You
    There’s something to be said about humbly funded productions that achieve high aesthetic standards despite a relative lack of dough: When I Consume You packs an emotional wallop and looks stunning while spending peanuts compared to the average studio horror product.
  11. Summering
    Everyone has off days, or in his case off years. But Summering extends those off years into Ponsoldt’s most puzzling effort so far, a genre jumble roping together a kid-detective novel, a ghost story, a hokey “do you know where your children are” PSA and a coming-of-age dramedy.
  12. Emily the Criminal
    While Plaza continues to make her case as a versatile A-lister capable of leading the more complex version of this kind of heist film, Emily the Criminal is a little like an initiation that never needed to happen. Her bonafides are proven. But it still stands as another showcase for her, as she shines even through its uninspired racket.
  13. 13: The Musical
    Apart from some stray moments of youthful exuberance, the film version of 13 has been scrubbed as clean as any high school musical, so that it resembles any number of sitcomy streaming programming—erasing the very novelty that made it sing on stage.
  14. Day Shift
    Day Shift’s gory, cheesy, vampire-hunting comedy-action film starring Jamie Foxx and Dave Franco is exactly what you expect, and that’s a good thing.
  15. Fall
    For what it is, Fall is an excellent white-knuckle affair of the highest order, and it succeeds in what it sets out to do: Keep you locked in for an hour and 45 minutes with thrills, terror and suspense.
    • 77 Metascore
    • 87 Critic Score
    Inu-oh
    Adapted from Hideo Furukawa’s novel The Tale of the Heike: The Inu-Oh Chapters, Inu-Oh is a true evolution of an ancient artform while also emphasizing friendship, legacy and who has the right to tell the stories of the departed.
  17. Rogue Agent
    At times, Rogue Agent feels reluctant to fully engage in the kind of deception that might make it a trickier, more “fun” piece of work; it’s almost too tasteful for its own good.
  18. Thirteen Lives
    If you’re looking for an engaging-enough rehashing of a riveting true story, by all means watch Thirteen Lives. Just don’t expect it to present you with anything that you haven’t seen in the long list of survival flicks already out there.
  19. The Artifice Girl
    A small cadre of performers and a play-like production—split into three contained acts that leap decades and single-location settings—keep the indie charmingly subdued, but the movie is so literal when drawing attention to its own underdeveloped themes that it boldly challenges you to be ignorant of the genre’s most basic philosophical bullet points.
    • 60 Metascore
    • 70 Critic Score
    Glorious
    Given its limited cast, location and budget, Glorious is an impressive feat. It never drags or feels more claustrophobic than intended. Thanks to strong performances and mostly tight writing, it’s a tense little chamber film, with deities and grand ideas, but without pants.
  21. Carter
    I’ve seen a lot of good movies this year, but Carter is a challenger to Top Gun: Maverick and Everything Everywhere All at Once for “Most Fun.” It’s also easily the most violent and visceral, on par at least with The Northman, but at a higher rate of corpses-per-minute.
  22. They/Them
    As soon as you say They/Them out loud for the first time, you’ll realize that it’s a wickedly clever play on words. Unfortunately, that’s the last time the horror film displays any behind-the-scenes wit or gumption.
  23. What Josiah Saw
    If Grashaw had simply trusted his instincts a little more and allowed Josiah to exist as a simple meditation on one family’s traumas, it would have easily joined the ranks of the great cinematic Southern Gothic horrors.
  24. Prey
    Prey is inarguably the best Predator since the original. The film gets so much right, paying homage to John McTiernan’s 1987 masterwork—through cigars and direct quotes that it’ll have fans hooting—and adding Indigenous representation with real cultural strength.
  25. Luck
    The plot of Luck is far too dense and convoluted. I suspect the movie’s target audience won’t have the patience for it. Maybe they will be distracted by the sparkly crystals and funny unicorns.
  26. Bullet Train
    I had a good time with Bullet Train. I didn’t hate Bullet Train. I just think that I’ll begin to forget Bullet Train, and in remembering that I’ve forgotten it, I will resent it because I’m an easy mark for crime films and an easy mark for action movies—including but not limited to cheeky R-rated action-comedies
  27. Allegoria
    Allegoria uses an anthology format to unleash the evils behind a writer’s insecurities, an actor’s doubts and a painter’s perfectionist ego, but struggles as most anthologies do to find meaning behind shorts that begin and end before any substantial climax.
  28. Honor Society
    Honor Society never gets a handle on its comedic bona fides, but its faux-irreverent tone does allow for a satisfying con-style turn as Honor struggles to keep her new maybe-fake friends under her control.
  29. Medusa
    The film acts as a giallo thriller, a modern update to Lizzie Borden’s Born in Flames and the latest entry in Brazil’s anti-Bolsonaro fantasy canon. Yet for all of these fascinating themes and well-executed nods, Medusa still feels narratively slight.
  30. Resurrection
    Writer/director Andrew Semans’ sophomore feature pulses with black-hearted humor and cruelties so odd as to be undeniably believable, but it’s Hall’s expressive transformation that drives the film’s blood into its final manic fever.
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