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. Tramps
    Tramps is a minor effort loaded with small pleasures, but tallied together, those small pleasures add up to one great movie.
  2. The Beguiled
    The discussion of what the film isn’t is a discussion worth having, just not at the expense of what the film is: Delicious, sensual, made with sterling craft and an unassumingly sharp edge.
  3. Spider-Man: Homecoming
    Briskly paced and charming to a fault, it’s a Spider-Man movie that fully embraces both its source material and the perils of 21st century teenage life.
  4. The Scribbler
    The Scribbler is overwrought, absurd, occasionally exploitative, completely lacking in subplot, takes a good 20-25 minutes to really get going and has acting that varies from excellent to, well, less-than-excellent. It’s also hugely fun!
    • 38 Metascore
    • 69 Critic Score
    V/H/S: Viral
    While none of Viral’s segments manage to equal any of the better sequences from either previous V/H/S installments, what’s left is a solid group of vignettes that—while not reinventing the wheel—will surely put a smile on the right (albeit, twisted) viewers’ faces.
  6. Baby Driver
    This movie is all about sensation, about grooving on the very specific but unquestionably catchy hook Wright has laid down for you.
  7. The B-Side: Elsa Dorfman's Portrait Photography
    It would be inaccurate to say The B-Side only scratches the surface of Dorfman, but this lovely portrait takes pains to adopt her mindset, finding the beauty that pervades an artist’s life. As a result, Morris is offering his own kind B-side—not better than the main work, but a delightful alternative take.
  8. The Ornithologist
    There are times during João Pedro Rodrigues’s newest film, The Ornithologist, wherein you can’t tell if it’s all a big sexy joke or if it’s an earnest, religious and intellectual inquiry into the boundaries of spiritual and physical adventure. There’s enough evidence in the film...to argue that it’s both.
  9. The Big Sick
    The movie is funny/sad without ever necessarily being revelatory or incisive. For better or worse, it’s very much like its protagonists: deeply, reliably nice. In fact, what’s most radical about The Big Sick is its optimistic insistence that a little niceness can make all the difference.
  10. Transformers: The Last Knight
    All the signature Bay Movements are here, the slow-motion hero shots, the scale so vast that even planets look small and modest, the aggressively dorky jokes, but they all have a perfunctory feel, like even Bay couldn’t muster up much enthusiasm this time.
  11. Rough Night
    The movie is cluttered, disorganized, choppy, obvious and, at the end of the day, not even energetic enough to work up much frustration about.
  12. The Book of Henry
    The Book of Henry means well, but it doesn’t do well. It does incoherent pastiche and self-congratulatory pap instead.
  13. Kill Switch
    Granted, the film might not have turned out much better had Smit stuck with one perspective or the other, but at least it would have had constancy. Instead, it reads strictly as a video game, sans the requisite interactive gratification.
  14. Maudie
    Hawkins’ performance in Maudie is as indelible a feat of psychological imagination as it is of physical dedication.
    • 53 Metascore
    • 58 Critic Score
    The Journey
    A well-acted, well-reasoned two-hander that struggles to swerve around the contrivances of the genre.
  16. All Eyez on Me
    All Eyez on Me risks little, and as a result it’s not worthy of his complicated legacy.
  17. Cars 3
    For the first time in its storied history, a Pixar movie feels like a straight-to-DVD entry: undemanding, mildly amusing, utterly disposable.
  18. Night School
    Cohn’s film is ultimately a genuinely inspiring one, noteworthy in the way it achieves its uplift honestly and without sentimentality.
  19. The Hero
    If The Hero works at all, it’s because Elliott brings a measure of emotional truth to even the most sentimental of plot developments, and because Haley exudes such warm patience for his lead actor’s rhythms and cadences.
  20. Beatriz at Dinner
    White and Arteta have a solid foundation but seemingly no idea of where it could go.
  21. Raising Bertie
    Raising Bertie is a moving chronicle, and a potent treatise on institutional failings that knows to demonstrate said problems instead of merely preaching them.
  22. I Love You Both
    I Love You Both perhaps would have been best imagined as a short, but it makes for a breezy watch.
  23. It Comes at Night
    Shults’s film is many things—heart-wrenching, paced to perfection, a masterclass in visual storytelling and genuinely terrifying.
  24. Dawson City: Frozen Time
    As impressively exhaustive as it is as a work of history, Dawson City: Frozen Time plays even more affectingly as Morrison’s most direct love letter to cinema: as a tool not only for recording history, but also for capturing between-the-lines truths that history books can only graze.
  25. The Exception
    The film never quite achieves the level of fevered hurry for which it aims—sometimes due to its often trite, on-the-nose dialogue and sometimes to the stilted delivery of said dialogue.
  26. Captain Underpants: The First Epic Movie
    Captain Underpants’ plethora of animation styles (including a wonderful sock puppet sequence) separates the film into imaginative sublayers, keeping it from feeling like the one-joke wonder that it often edges towards.
  27. The Mummy
    As a commentary on the modern blockbuster, the movie’s fascinating. But as an actual movie, it’s fairly disheartening.
  28. Snatched
    If your tastes run to the rude, crude and pleasantly bizarre—the laughs are there, doing the heavy lifting for a story that barely is.
  29. Take Me
    Healy’s good; Schilling’s superb. Together, they make a hell of a team, he the wide-eyed schlemiel, she the hysterical but thoroughly capable victim who would naturally rather not be a victim in the first place.
  30. The Commune
    All the components for bite are here, from unflattering character portraits to hideous amorality, but The Commune never clamps down quite as hard as you’d like it to. Your time won’t be wasted with the movie, but it won’t send you out of the theater scarred, either.
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