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. The Expendables 3
    Joke’s way over, guys, and everyone’s now uncomfortable, thanks. Now, who needs a drink…?
  2. Ragnarok
    Ragnarok ain’t a home run, but it’s a solid double, and certainly enough to cause Hollywood scouts to raise an eyebrow.
  3. John Wick
    The blood-slicked, vividly drawn film universe John Wick illustrates is such a generous slice of pulp that, even if not original, per se, it exudes a confidence rarely seen these days, surefire franchises be damned.
  4. Exodus: Gods and Kings
    Even with exhilarating plague montages and stomach-dropping illusions of scale amid the many battles, the characteristically brilliant shots for which the famed director is known can’t compensate for the completely tone-deaf overall result—so far removed from the days in which the filmmaker brought us Alien.
  5. The Hobbit: The Battle of the Five Armies
    So, then, what makes it the “best” entry? The more severe Rings-tone that Jackson has been attempting to graft on top of the (mostly) whimsical original source makes the most sense here. Also—and at the risk of coming off as pedantic—it’s because, technically, it’s the shortest of the three.
  6. Spring
    The love story at the center of Spring is mysterious, funny and often poignant—a tough enough thing even to describe, let alone commit to film.
  7. The Age of Adaline
    Maybe there is, in fact, something inherently valuable in producing a sincere effort of escapism, to transport the audience to a different, less cynical, arguably “better” time. But when the audience is collectively checking their watches, it’s probably not a good sign.
  8. Maggie
    On the strength of the leads’ performances—as well the semi-original setting in which the zombie apocalypse is relatively (and somewhat refreshingly) contained—Maggie nearly warrants a recommendation.
  9. Yakuza Apocalypse
    Fans of the director will doubtlessly find his latest overly familiar, while the Miike-uninitiated will be left scratching their heads as to how chocolate and peanut butter don’t quite make the whole confection more delicious.
  10. Resolution
    Justin Benson and Aaron Scott Moorehead’s feature directorial debut is an invigorating reminder that talented, original voices occasionally surge forth from the festival circuit grind.
  11. The Endless
    In The Endless, Moorhead and Benson show how sustained paranoia and foreboding can keep an audience hooked as effectively as special effects.
  12. Ready Player One
    I don’t know how he does it, or for that matter why, but Spielberg turns Ready Player One into something that’s both nostalgic and new, something impersonal yet uniquely his. It is not one of his better movies; it’s probably not even in the top half. It’s way too long and packed with too much extra junk. It is still, somehow, a gas.
  13. Sherlock Gnomes
    The reason such a colorful mainstream family time-waster should exist is to string together a bunch of zippy PG-rated action set-pieces. In that sense, the film succeeds at the basest level, thanks primarily to the beautifully crisp animation, a big step-up from the first film’s overtly plastic CG look.
  14. I Kill Giants
    It’s well-intended, it’s heartfelt and in its small-scale fashion it’s surprisingly ambitious, but it’s also content to cheat its own premise and withhold its genre pleasures, which effectively undermines Barbara’s journey.
  15. Isle of Dogs
    As much as the movie is an enrapturing, sometimes overwhelming experience, filled with passion and hard work and adoration for the impossible task of making such a singular movie at all, Anderson and his animation team find the film’s soul in these dog’s eyes.
  16. Pacific Rim: Uprising
    Pacific Rim Uprising’s jokey tone fails to leaven the movie’s leaden clatter, and so any attempt on Boyega’s part to be heroic feels a bit shrouded in irony. But at least he registers: Eastwood may be even duller than Charlie Hunnam was in the first installment, and Spaeny plays the spunky Amara with maximum attitude and a paucity of charm.
  17. Unsane
    Not all of Unsane’s twists and gambits work—you have to accept a certain amount of movie-movie ludicrousness to get on the film’s loopy wavelength—but Soderbergh’s vision of a smart woman eternally held down against her will has a wonderful, nasty kick to it.
  18. The Death of Stalin
    It takes a deft hand and a rare talent to make tyranny and state sanctioned torture so funny.
  19. Tomb Raider
    Outside of Vikander’s performance, Tomb Raider tends to go on autopilot, either too scared or uninspired to reimagine this blah action-adventure material.
  20. 7 Days in Entebbe
    With a deft docudrama approach (that doesn’t overdo the usual extra-shaky handheld camera and overtly grainy visual tone), Padilha shows a commendable technical control over that rare movie that could have benefitted from being much longer.
  21. The Hurricane Heist
    In many ways, The Hurricane Heist’s lack of self-awareness regarding just how dated it feels plays to its advantage. If you’re looking for that 1997 big-budget CG showcase experience without the wink-wink self deprecating irony of The Lonely Island or Deadpool, then you should be fairly satisfied with this cinematic time capsule.
  22. Flower
    There are two movies here, and the actors handle that duality well. But the brooding darkness lurking inside these characters needs a drama of its own.
  23. Gringo
    It’s the central performance by Oyelowo, who allows us to laugh at Harold’s naiveté and tomfoolery with some well-placed broad comedy choices while never dropping the ball on the character’s relatability, that makes Gringo a worthy watch for genre fans.
  24. Death Wish
    This is a standard vigilante/revenge fantasy too plodding to deliver the base genre goodies, and too simplistic to work as a character study on how a sudden life of violence can irredeemably disrupt an average citizen’s psyche, the way the original film at least half-heartedly attempted to do.
  25. A Wrinkle in Time
    There are movies that fail because they are misguided, or because their heart isn’t in the right place. This movie wants to be special, which makes the fact it is such a lumpy, clumsy mess all the more frustrating. You root for this movie, and the movie tries to go a long way on that good will. It doesn’t make it far.
  26. Thoroughbreds
    A sobering, beautiful movie that’ll haunt you for weeks after watching it.
  27. Game Night
    Bateman and McAdams have some fun with the gonzo goofiness of the project, and milk a couple of comedy set-pieces—like one about a gunshot wound and a squeaky toy—but the flatness of their characters leaves no room for relatability.
  28. Red Sparrow
    Lawrence (and his star, Jennifer Lawrence) want to leave no doubt that this is the lurid, infuriating stuff of the adult-minded, drenched in sophistication and pain—much like Lawrence’s dystopic vision for The Hunger Games, only anchored in the hyperreal world of the New Cold War we may be starting to realize isn’t “new” at all.
  29. Mohawk
    Mohawk is exciting on its own merit. Seen as a piece of Geoghegan’s growing filmography, it’s positively thrilling, a great extension of its author’s fascinations.
  30. Early Man
    Park smoothly pilots this film around and through certain narrative conventions—training-montage clichés are parodied, familiar sports-movie characters are rejiggered—and there’s a pleasing familiarity to the whole endeavor. But there’s also a ceiling to how funny or touching any of this is.
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