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. Tom & Jerry
    While the movie is often adorable and overwhelmingly wholesome, it lacks the true essence of Tom and Jerry cartoons: Goofy, slapstick barbarity perpetually enacted between the two characters.
  2. The United States vs. Billie Holiday
    The overlong and tedious film opts for rudimentary Oscar-bait trappings and a crudely voyeuristic portrayal of the renowned jazz singer—a commanding performance by first-time actress Andra Day notwithstanding.
  3. Cherry
    While the Russos and Holland clearly want to break out of their professional boxes, pulverizing this film with their big swings, Cherry is a bomb.
  4. The Father
    Similar to how the characters are there to serve Anthony, Colman, Gatiss, Sewell and Poots are there to serve Hopkins. The stage belongs to him. What he does with it is something special, an unmissable performance from an actor with a filmography loaded with them.
  5. The Vigil
    The Vigil hopefully marks a trend where Catholicism no longer reigns supreme in the world of horror and filmmakers of all creeds can continue to play with decades of generic expectations.
  6. Flora & Ulysses
    While a little dark and a little unsteady—and boxed in a bit by the limitations of its genre—Flora & Ulysses still hits most of the right beats and manages to find some resonant, intelligent things to say about some pretty grown-up topics.
  7. I Care a Lot
    Some of the film’s punchy dialogue pops us on the nose now and again with its Themes (specifically its notes on sexism and the American Dream), but if you’re willing to look past that and a contrived half-hour detour, I Care A Lot is a savvy and wicked endeavor peppered with personality.
    • 53 Metascore
    • 71 Critic Score
    Shook
    Despite Shook’s occasional heavy-handedness, the film mostly reaches the glaring social critiques its strains for. If you can put up with substitute social media app interfaces and won’t whimper at fuzzy images of brutalized doggos, Shook is worth a shot.
  9. The Mauritanian
    The Mauritanian plays by the numbers, hitting courtroom conspiracy drama beats dutifully but without any urgency. From the start, everyone on every side of the court is running out of time, and hitting their heads on brick walls of government silence, which, though drawn from real life, remains a well-worn genre cliché played too heavily by Macdonald’s direction.
  10. To All the Boys: Always and Forever
    Aside from the globetrotting and the drama, at the heart of all three To All the Boys movies is the charming Condor, who infuses the movies with validity and radiates happiness. She is a delight to watch—always and forever.
  11. Sator
    Sator’s dedication to its own nuanced premise, location and tense pace make it the rare horror that’s so aesthetically well-realized you feel like you could crawl inside and live there—if it wasn’t so goddamn scary.
  12. Music
    Music is a bad movie, but I wish that were all it was. I can handle its poor pacing and stiff dialogue, but even doing research and writing an essay on the film’s problematic elements pre-release were not enough to prepare me for how harmful Music is to autistic people.
    • 84 Metascore
    • 88 Critic Score
    Judas and the Black Messiah
    Judas and the Black Messiah’s greatest success is not that it somehow humanizes the Black Panthers, but portrays the Black Panther movement as self-evidently legitimate.
  14. Earwig and the Witch
    Frankly, Earwig and the Witch looks ghastly enough that storytelling merit doesn’t even matter. It’s a movie almost too ugly to consider beyond the surface.
  15. Malcolm & Marie
    It’s less a story and more a fragile white male provocation, and it’s repulsive.
  16. PVT Chat
    The stylistic intentions of PVT Chat welcome not only a rigorous examination of our own personal proclivities, but a sincere respect for the boundaries inherent in the sexual inclinations of others.
  17. The Wanting Mare
    It may not be a must-see movie for everyone, but a select few—scrappy DIY filmmakers, lovers of hands-off fantasy, those that love a good “film still as portrait”—will find something to enjoy. The rest might chafe a bit, but will still hang on to see where The Wanting Mare’s ride takes them.
  18. A Glitch in the Matrix
    While not compelling enough to be one of the two options—either a destructive or awakening force for our own personal simulations—winkingly proffered in the doc itself, A Glitch in the Matrix still has genuinely gripping segments.
  19. In the Earth
    With In the Earth, Wheatley hits a brick wall, but he hits it hard enough that whether one sees the film as successful or not, the effort remains admirable.
  20. We're All Going to the World's Fair
    At its grimmest the film hits peaks of nerve-shredding dread. But more than being just frightening, We’re All Going to the World’s Fair is confidently weird and deeply sad.
  21. The Cursed
    A protracted folkish horror story that mistakes miserablism for period accuracy.
  22. El Planeta
    The frequently complicated relationship between mother and daughter has fostered plenty of cinematic investigation, but El Planeta easily distinguishes itself as a uniquely meta and universal addition to the canon.
  23. Cryptozoo
    Interested in interrogating the exploitation of fantasy and imagination for human consumption, Shaw’s psychedelic, patently adult animated feature brings daydreams into the pointedly violent and bleak reality that its genre contemporaries are privy to ignore.
  24. Land
    What’s delivered is a flat drama with some admittedly striking nature photography, though the biggest survival struggle becomes that of your own attention span.
  25. The Queen of Black Magic
    While its larger ideas never fully find their feet, The Queen of Black Magic lights a fire beneath the soles thanks to its continuous flow of gags—eventually developing into an almost Hellraiser-esque carnival of punishment.
    • 54 Metascore
    • 58 Critic Score
    The Little Things
    If it’s hard to shake the feeling that The Little Things strives to be Se7en or Zodiac, it still manages to satisfy in a meat-and-potatoes sort of way, delivering its twists and turns effectively while having the confidence to not wrap things up too neatly by the end of its runtime.
  27. Saint Maud
    There’s texture here, unnerving ambience as proof of Glass’ budding talents. But less isn’t always more, and while Saint Maud doesn’t need much, it simply doesn’t have enough to make an impression lasting beyond one second of terror.
  28. PG: Psycho Goreman
    Psycho Goreman is a necessary explosion of ridiculous fun in a time when it’s needed most. Fans of practical effects and over-the-top horror-comedy will instantly fall in love.
    • 73 Metascore
    • 87 Critic Score
    The Dig
    Although it all may veer towards a cliched representation of British-ness, Fiennes and Mulligan’s leading turns as Brown and Pretty are charming.
  30. Some Kind of Heaven
    All this seriousness about love, loss and the human needs that start up early and continue until the end aren’t without a sense of fun. Some Kind of Heaven’s glib punchlines (like its title) and aesthetic choices (like a voyeuristic camera and thrillery score accompanying Dennis’ more slimy schemes) work best when they’re paired with some nicely dry moments of undermining honesty.
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