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. mother!
    Aronofsky can be a moving, almost disorienting stylist, but he’s all blunt force trauma here.
  2. It
    It occasionally reminds you of how awful it can be a kid, and It also occasionally makes you jump out of your chair. But it never figures out how to do both at the same time.
  3. I Do... Until I Don't
    Maybe this isn’t the sophomore picture we’d hoped for, but it’s sharp and insightful regardless.
  4. The Challenge
    With its impeccably framed wide compositions, immersive long takes, and a cross-cutting narrative style that touches on the work of Matthew Barney—or, in a considerably more mainstream vein, Christopher Nolan—The Challenge feels like avant-garde art more than anything else.
  5. Served Like a Girl
    Served Like a Girl manages to inform the audience about its important subject matter in an always engaging way while also telling an entertaining story with as many twists and turns as one might find in a fictionalized counterpart.
  6. The Queen of Spain
    When the film makes its hairpin turn from comedy to drama, it doesn’t really fully commit, which has the effect of negating the power of its more serious ideas.
    • 48 Metascore
    • 65 Critic Score
    Goon: Last of the Enforcers
    As was the case with Goon, Last of the Enforcers revels in a hockey culture that Baruchel knows intimately, exhibited in the crude locker room banter from some of the returning players.
  8. Leap!
    The filmmakers behind Leap! seemingly can’t picture a children’s movie without a cavalcade of unnecessary action scenes and fart jokes—and not good fart jokes at that. The result is a movie allegedly about ballet with weirdly few scenes featuring actual dancing.
  9. The Villainess
    There isn’t an action movie out there in 2017 that’s quite like it (for better or for worse), no action movie either as crazy or as committed to its craziness.
  10. England Is Mine
    The film isn’t strictly terrible—it is, for lack of a better neutral word, “watchable”—but it also has no real reason to exist.
  11. Bushwick
    The lone beacon of subtlety and warmth here is Dave Bautista, a man I would like to give a long hug. Bautista is able to extract quiet moments of genuine empathy and reflection from the shitshow droning on around him, yanking whatever depth is available from the shallow husk of a character he’s given.
    • 43 Metascore
    • 72 Critic Score
    Death Note
    Wingard’s Death Note moves like a bullet and doles out practical gore and overheated melodrama in equal measure.
  13. Dave Made a Maze
    One of the more frustrating experiences in appraising art is arriving at the confusing intersection of admiring an artist’s work, while simultaneously not particularly enjoying it.... Bill Watterson’s fiercely creative yet endlessly frustrating Dave Made a Maze leaves the viewer in precisely this uncomfortable position.
  14. The Wound
    Against the backdrop of a coming-of-age ritual, The Wound finds its greatest insights in contrasts between tradition and modernity.
  15. After Love
    Despite these sharp moments, there’s a frustrating looseness to Lafosse’s narrative, feeling as though many of After Love’s scenes could be rearranged without changing the film’s flow. In turn, a slackness undercuts the tension the film is otherwise trying to build.
  16. Gook
    It’s a major step up for the filmmaker in both narrative and technical terms.
  17. Marjorie Prime
    It’s an exquisitely challenging production, one that calls for repeat viewings over years, all the better to persuade the film to surrender its meaning.
  18. Beach Rats
    Dickinson, in his film debut, almost makes this familiar narrative feel fresh.
  19. Lemon
    It’s an endurance test where viewers pit their tolerance for naked displays of ugly masculinity against Bravo’s assured directorial chops. It’s also the best, or maybe most vital, presentation of whiteness in theaters in 2017, or for that matter the last half decade or so of pop culture.
  20. The Hitman's Bodyguard
    An assembly line of ostensibly “hip” gestures and snarky attitude, The Hitman’s Bodyguard wants very badly to be a naughty, R-rated guilty pleasure. Nobody tell its makers that it’s mostly just mildly boring.
  21. Patti Cake$
    Patti Cake$ clearly loves music, but fails to translate that into a compelling narrative. It’s an album filled mostly with half-baked skits.
  22. Logan Lucky
    Soderbergh has been an indie wunderkind, an anarchic prankster, a self-sabotaging bomb thrower, even a studio hack. Logan Lucky isn’t the best movie he’s ever made, but it’s pointing him a most fascinating new direction—the auteur as compulsive entertainer. He’s well on his way.
  23. The Glass Castle
    The Glass Castle is a two-hour fight between a messy, sad, angry real-life family story and a Hollywood movie that keeps trying to soften all the edges and turn the tale into something “inspirational.”
  24. Good Time
    Good Time features no shootouts or car chases—there isn’t a single explosion in the whole film. The Safdies and Pattinson don’t need any of that. Like Connie, they thrive on their wits and endless inventiveness—the thrill comes in marveling at how far it can take them.
  25. Some Freaks
    The deeper Some Freaks wades into what becomes a series of sadistic and masochistic humiliations, the more McDonald’s film begins to feel schematic, with these characters little more than pawns in a screenwriter’s game of toying with our expectations.
    • 40 Metascore
    • 48 Critic Score
    From the Land of the Moon
    Cotillard, whose face is often painted in chiaroscuro care of cinematographer Christophe Beaucarne, manages to provide a gravitas and slightly colored deviations from what is otherwise a monochrome character.
  27. Step
    Step may stumble over its own hurried pace (cramming months of school into montage after montage), but such a method is almost forgivable once you realize that the film is speeding towards an effective finale that will have you cheering no matter what.
  28. The Trip to Spain
    Ultimately, fans of the previous two films will get all they crave from The Trip to Spain, which feels like something of a rarity in franchising: These movies have yet to fizzle out and lose their appeal or run out of creative space to explore.
  29. The Nut Job 2: Nutty by Nature
    The Nut Job 2 actually contains some impressive animation, with photorealistic backgrounds and detailed fur dynamics on the characters, but that makes it an even bigger tragedy, since we know that untold hours were spent by artists in service of a product that even the least discerning child would find tired and useless.
  30. Columbus
    The places and things Kogonada includes in his frame are important for drawing us into Columbus’s world, but it’s Richardson who gives that world its shape, supplying her director’s clean, static compositions, captured in long shots, with aching humanity molded by doubt and disappointment.
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