Paste Magazine's Scores

For 133 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 97 Dunkirk
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Positive: 82 out of 133
  2. Negative: 15 out of 133
133 movie reviews
  1. It takes everything Nolan does well and everything he doesn’t, everything he fights against and everything he embraces, everything great and terrible about him, and streamlines it, focuses it, until it’s pure Nolan, straight into your veins. It’s the most Christopher Nolan film imaginable. It also might just be his best one.
  2. The film is a visual gem, each set piece rendered with an impeccable level of polish and attention that does justice to Nihei’s penchant skill for depicting monolithic dimensions.
  3. When the film concludes, you may find yourself wanting to watch it again to fully absorb the journey Zvyagintsev took you on. And because Loveless is so accomplished, the repeat viewing promises to be deeply rewarding.
    • 93 Metascore
    • 90 Critic Score
    The Coens have created a film that is wholly original and highly entertaining.
  4. 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.
    • 85 Metascore
    • 89 Critic Score
    It’s a meditation on how objects carry history, how they reflect our decaying bones, and how they sometimes outlive us.
  5. 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.
    • 84 Metascore
    • 89 Critic Score
    A Ghost Story rewards viewers who are willing to engage with it, to accept its evolving premise and experience the expressionless specter’s afterlife as it reveals itself.
  6. 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.
  7. 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.
  8. It’s a rapturous, gorgeous movie about the sad joy of living, the product of a filmmaker who has spent his life wrestling with the human desire to shed banality and elude our mortality, but for all its intellectual ambitions and philosophical gravity, Endless Poetry never reads as stuffy or self-serious.
  9. This repetition of old themes might suggest a filmmaker out of ideas. I’d argue the opposite: Happy End is a movie that’s fully alive, no matter how chilly it is. And its calm is a kind of rage, methodically cataloging the crimes and misdemeanors of a family that’s seemingly above consequence.
  10. Shults’s film is many things—heart-wrenching, paced to perfection, a masterclass in visual storytelling and genuinely terrifying.
  11. Throughout its near two-hour runtime, the film broaches many weighty subjects.... And to its credit, Genocidal Organ manages to juggle all of these hefty concepts rather capably.
  12. He’s not really reinventing or subverting a genre. Rather, Haynes is applying the same smarts and curiosity he always does, openly questioning why a kids’ film can’t be as absorbing and thoughtful as any other kind.
    • 85 Metascore
    • 85 Critic Score
    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 argue that it’s both.
  13. Packing far more emotional weight than your standard buddy comedy, Jeff Grace’s Folk Hero & Funny Guy sets up something akin to The Odd Couple on the road and then proceeds to turn most—or all—of your assumptions on their heads with charm, wit and not a small amount of melancholy.
  14. The Unknown Girl isn’t just about guilt but also racism, the folly of pride and our collective need to be absolved for the bad things we’ve done—even if the penance doesn’t fit the infraction. All of this is done masterfully, but I confess it was masterful in just the way I expected. As a result, The Unknown Girl filled me with guilt as well—for not loving it more than I did.
  15. Blade Runner 2049 should resonate deeply with anyone who’s ever held love for the original.
  16. Inside Out may be the best Pixar has released in a while, especially after a string of disappointing and underwhelming efforts, but what’s most cheering about the film—and most like Pixar’s celebrated classics—is that it’s so emotionally astute.
  17. 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.
  18. The result is a sharp, moving dissection of personal identity and self-agency.
  19. It’s a really well-made genre movie, the product of a smart, obviously skilled filmmaker with a good sense of economy.
  20. Ultimately, Gerald’s Game is an unassuming, overachieving little thriller that is blessed by two performers capable of handling the lion’s share of the dramatic challenges it presents.
  21. 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.
  22. 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.
  23. You might have heard about ISIS using spiffy, Hollywood-style propaganda videos to attract new recruits, but City of Ghosts breaks down how nefarious and well-organized this operation is, as the members of RBSS point out the ways in which ISIS took clear production lessons from Hollywood to make their videos as attractive to impressionable youth as possible.
  24. 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. Their Finest is a joy to watch, if not for Scherfig’s direction than for Arterton’s leading performance, a mixture of affronted gumption, feminine stoicism and vulnerability that adds up to towering portraiture.
  26. 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.

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