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. How It Ends
    The problem dogging the film from the start is the absence of insight. Nothing that Wein and Lister-Jones have to say about facing the past, making peace with yourself and with the people who psychologically and emotionally scarred you over the course of your life, or even their most central concern, death, turns out to be worth hearing.
  2. Space Jam: A New Legacy
    The story isn’t necessarily awful, but it’s mostly boring, stretching itself out to an unwieldy 115 minutes.
  3. Fear Street Part Three: 1666
    The Witch this is not, but that’s ultimately fine—although the themes may be something like a mash-up of The Scarlet Letter and The Crucible, the tone has a much more pop mentality that is at least consistent throughout.
  4. How to Deter a Robber
    Bissell creates a unique horror-comedy that isn’t just interested in laughs and scares, but also in looking at the humanity of her characters that truly believe they are trying their best.
  5. Escape Room: Tournament of Champions
    Sequels have a lot to prove by default, and by default I try to give them a bit more leniency. But there’s not much merit in the way Escape Room: Tournament of Champions skirts around the series’ rules and bends them out of shape, only to discard them when they matter most: In the script and story.
  6. Pig
    Part of Pig’s impactful, moving charm is its restraint. It’s a world only hinted at in 87 minutes, but with a satisfying emotional thoroughness.
  7. Roadrunner: A Film About Anthony Bourdain
    In truth, this isn’t a movie about understanding why—a question that desperately wants an easy answer to a complicated problem—but about understanding Bourdain. Appreciating him. Mourning him. To that end, Roadrunner succeeds once the mythologizing dies down and we see the person inside the romantic.
  8. A Classic Horror Story
    Despite a visual slickness coupled with certain scenes of striking brutality, A Classic Horror Story circles the blood-drenched drain of horror callbacks with little payoff when it comes to making an organic observation.
  9. Gunpowder Milkshake
    It’s a bloody feast for the eyes, and if you’re looking for a movie sprung solely from the iconography of other neo-shoot ‘em ups, it’s got some fun in store—you just might have to leap over the plot holes and massive tonal shifts while wielding customized mini-bayonets to enjoy the good stuff.
  10. Scales
    Scales is a grim movie as much as it’s a gorgeous one. It isn’t without hope, but hope is in short supply, on land and underwater.
  11. Silat Warriors: Deed of Death
    True to its genre-defining premise, the Malay actioner doesn’t break much ground during its lackadaisical story of an in-over-his-head gambler attempting to make good, but Bakar shoots it with enough inconsistent, eclectic energy that it’s occasionally more watchable than its ideas deserve.
  12. Fear Street Part Two: 1978
    In the moment, what it does do well is tease the increasingly metaphysical conclusion that is swiftly approaching, which looks to shed some of the “slasher movie” trappings and embrace the idea of a supernatural evil that resonates and repeats across centuries and generations of lives. Here’s hoping that the Fear Street trilogy can stick the landing.
  13. Son
    Yet in spite of this promising narrative foundation, the film’s gruesome effects and the compelling performance from Blumm, Son seriously suffers from assorted perils of predictability and protractedness.
  14. Black Widow
    Director Cate Shortland tries to leaven this particular loaf o’ unacknowledged concussions, fractures and tissue damage with family drama and trauma.
  15. Fear Street Part One: 1994
    The tone has more of the edgy, joyfully nihilistic streak present in something like Heathers. Tack on some legitimately brutal deaths, and you have a very effective modern black comedy/horror hybrid in the making, enhanced by an evocative score, crisp cinematography, lively camera and appropriately grungy soundtrack of early ‘90s classics.
  16. First Date
    Despite clearly aiming to craft an intentional aesthetic, writer/director duo Manuel Crosby and Darren Knapp’s film is inundated with tributes to irreverent indie crime film staples without bothering to carve out a unique voice of its own.
  17. The Forever Purge
    Consider The Forever Purge as the “well, well, well, if it isn’t the consequences of my own actions” meme as a horror film.
  18. No Sudden Move
    Regardless of whether or not Soderbergh once again made iPhone filmmaking look more visually elegant than most modern Hollywood blockbusters, No Sudden Move suffers from low stakes and a disconnect from the world of our characters.
  19. The Tomorrow War
    Unfortunately, The Tomorrow War isn’t allowed to be the dumb, “just go with it” summer spectacle it should have been, a la Independence Day. Instead, McKay and Dean force it to be a self-aware and “smart” time travel drama, with feelings big enough to crack generational war trauma issues, among lots of things that go “boom!” and “pew, pew, pew.”
  20. America: The Motion Picture
    It is obnoxious, overlong, annoying and, above all, deeply unfunny.
  21. Zola
    It’s a movie by a Black woman about a Black woman (that barely, blessedly avoided being directed by James Franco) that doesn’t just capture a nuanced and specific experience, but the rollicking and resonant digital audience that initially embraced it.
  22. Vicious Fun
    The gritty, glowing neon textures of the ‘80s cover practically every frame of director Cody Calahan’s Vicious Fun, a horror-comedy caper that lovingly sends up the era’s genre tropes while never breaching egregious self-indulgence.
  23. False Positive
    Unfortunately, even False Positive’s shortcomings are uncharacteristically boring, generic and empty.
  24. F9: The Fast Saga
    It’s not a great standalone entry into the Fast canon, but as the franchise speeds towards its finish line, it’s still satisfying to know that it’s in the hands of someone well-versed in the series’ strengths and still willing to imagine new ways to crash its toys into each other.
  25. Werewolves Within
    With Werewolves Within, Ruben further proves his skills as a director who knows how to walk that delicate line between horror and comedy, deftly moving between genres to create something that isn’t just scary, but genuinely hilarious.
  26. Good on Paper
    Good on Paper wasn’t that good as a stand-up segment; as a movie, it should be permanently erased from the memories of anyone unlucky enough to have seen it.
  27. Summer of 85
    Ozon’s film grafts aesthetic pleasures with danger, and gets closer to the core of teenage romance as a payoff.
  28. The Sparks Brothers
    The Sparks Brothers is a thorough and charming assessment and appreciation of an idiosyncratic band, and the highest praise you could give it is that it shares a sensibility with its inimitable musicians.
  29. Rita Moreno: Just a Girl Who Decided to Go for It
    What truly sets the movie apart is Moreno’s unwavering honesty. While obviously proud of her accomplishments, she doesn’t gush about herself. It would have been so easy for the movie to have been a puff piece. But Moreno refuses to let that happen.
  30. Luca
    There’s a long pedigree for Casarosa, Andrews and Jones to live up to. Mostly what they manage is sweetness, and so sweetness must suffice. A little more body would have been better.
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