Paste Magazine's Scores

For 529 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 4.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Walkabout
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Negative: 30 out of 529
529 movie reviews
  1. It’s a gorgeous, shattering film. It’s an unapologetically real film about a number of very real subjects, plot-agnostic but driven by character, consequence and compassion.
  2. VFW
    Unlike Bliss, which has a cogent intention pushing it forward, VFW plays slapdash, which admittedly fits the film’s grimy aesthetic, a delirious theme park ride. Maybe that’s all a horror movie needs to be to be worth watching, but Begos can do more than douse a set with viscera, even if VFW doesn’t need “more” to justify itself.
  3. Sure, the action is thrilling and the visual effects are stellar, but Heroes Rising as a whole only manages to graze the surface of what makes My Hero Academia the series itself so great.
    • 74 Metascore
    • 81 Critic Score
    Bacurau is wildly creative, and its hilarious, Dadaist aura provides an uncanny comfort despite ample bloodshed. This is not to say that the film is without heart-wrenching loss and tearful contemplation of a world on fire.
  4. The film thrives within a dream-logic vibe, especially in Olivares’ cinematography, with its heavy emphasis on symmetrical framing, stark contast and lush use of yellows and blues, evoking subliminal terror.
  5. The movie’s real joy, if there is any, lies with Carrey fully embracing his ’90s rubberface days. Director Jeff Fowler makes the right decision by letting Carrey’s signature madness loose on such a vanilla scoop of family entertainment.
  6. The atmosphere that Franz and Fiala maintain isn’t a replacement for thoughtful writing, and their visual inventions are undone by the secrets that inspire them.
  7. The movie is exhausting, but when we’re talking about the DCEU, we have been the victims of far worse. The movie bores you but, perhaps newest for this universe, it does not drain your will to live. One takes progress where one can find it.
  8. The Rhythm Section certainly doesn’t rewrite the structure of the revenge movie. The usual plot twists can still be seen coming a mile away. None of which keeps it from being a smart and insightful genre exercise in an already promising director’s young career.
    • 95 Metascore
    • 86 Critic Score
    Even more powerful than Sciamma’s portrayal of a feminine portrait of solidarity and desire is the statement that art is not exclusive to those who make it.
  9. What makes the movie such a welcome surprise is Bonello’s creativity: Digging back nearly 60 years to trace an arc of trauma inherited through French colonialism takes as much chutzpah as imagination, the latter seen here mostly in the form of atmospheric horror homage.
  10. Color Out of Space feels shaggy at the edges but so rich within them that the flaws of the DIY aesthetic matter less than the merits of Stanley’s perspective.
  11. Kids deserve better entertainment than Dolittle. They deserve not to have their intellect insulted with half-assed celebrity vocal cameos and a plot that concludes not with a bang, but with a fart joke. Neither Gaghan, nor his ensemble, nor Universal have an excuse. Downey doesn’t either.
  12. Avnet likely means well, just as Rokeach meant well. Three Christs needs more than a deep focus on the Christs themselves, and on the system that so utterly failed them. It needs to focus on Stone, and on the collision between ego and benevolence that led to The Three Christs of Ypsilanti’s birth. That should be the story.
  13. It never quite rises to pedigree of Your Name, but it certainly asserts its place in Shinkai’s oeuvre as his most challenging film to date.
  14. Bad Boys for Life is better than it should be—the audience at my screening clapped when it ended—but not quite up to being what it must: a reminder that, you know what, a thousand years from now, Bad Boys will still fucking be here.
  15. Think of the film as an extended cousin of Too Many Cooks, where parody gives way to weirdness, which gives way to surrealism, which gives way to genuine horror by the end. Bonkers as the combination sounds, and it is unimpeachably bonkers, the effect of their marriage is hypnotic.
    • 58 Metascore
    • 80 Critic Score
    Rise of the Guardians is definitely fun, and definitely worthy of a holiday outing to the theater.
  16. It’s genuinely passionate about telling the tale of a man who sought the truth and applied it to attain true equality under the law. Perfectly executed or not, we need these kinds of stories these days.
  17. While the director clearly has a few tricks up his sleeve for hitting his viewers with the heebie jeebies, what he doesn’t have, at least for The Sonata, is a sense of how to weave those tricks into a unified, cohesive narrative.
  18. The strength of ensemble’s performances can’t be overstated, especially that of Woodard and Hodge—she one of the greatest actors of her generation, he on the path to becoming one of the greats of his own.
  19. Good as Marriage Story’s pieces are, they’re too finely curated: Baumbach rarely lets the film be as messy as it needs to be, hemming himself in with the threads of his limited perspective.
  20. Just like with Welcome to the Jungle, the action is serviceable, but lacks genuine thrills.
    • 91 Metascore
    • 91 Critic Score
    If you’re a living, breathing person with feelings and emotions, it is almost guaranteed to set your soul aglow.
  21. Slowly, agonizingly, over the course of two-and-a-half hours, the house collapses in a stream of Star Wars free association. At best, The Rise of Skywalker solidifies Ridley and Driver as movie stars. At worst, it ends this narrative not with a bang but with a recycled image from a better movie. If that isn’t proof that Disney considers this property more product than art, nothing is.
  22. Little Joe could use a trim for better deployment of plot and unnerving atmosphere. No matter. Little Joe is a quirkily rattling movie, an off-kilter tonic during the year-end onslaught of movies proclaimed “important” by their studios, and what the film lacks in structure it makes up for in its eerie, cold singularity.
    • 76 Metascore
    • 83 Critic Score
    How to Train Your Dragon 2 may not be Toy Story 2 (or The Empire Strikes Back, for that matter), but it’s a more than worthy successor to the first film. Even when it falls short of its lofty ambitions, you can’t help but appreciate how thoroughly it commits to achieving them.
  23. Scorsese’s gangster movies indulge the genre’s pleasures, of course, but in each of them—all seven of them—he’s looking for spirituality and for humanity. In The Irishman, he’s in self-reflection mode, glancing at his career-long search for God while pondering his own age.
  24. A marvel of so many confounding, disparate elements that somehow conspire to bring us from one side of the earth to the other. One would think the Safdies got lucky were we not wiser to their talent.
  25. There’s a terrific 50-minute fan edit somewhere in The Aeronauts, but as far as the theatrical experience goes, half of it is more than worth your time, if you’re willing to tolerate the other half.

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