Paste Magazine's Scores

For 458 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 4.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Walkabout
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Negative: 28 out of 458
458 movie reviews
  1. Good Boys manages to find that happy medium between outrageous and heartstring-pulling.
  2. With layered direction that emphasizes quiet moments over outward emotion during scenes of tragedy, and soulful performances all around, The Art of Racing in the Rain is just the right kind of tearjerker with an injection of positivity that our understandably pessimistic society needs.
  3. Even though it suffers from tonal and narrative inconsistencies, Dora and the Lost City of Gold deserves just enough praise for working as a gateway action/adventure exotic exploration movie for kids to eventually get into Indiana Jones, while sporting a central performance that’s effortlessly charming and instantly lovable enough to almost carry the entire project.
  4. This is neither a pleasant movie nor a pleasing movie, but it is made with high aesthetic value to offset its unrelenting pitilessness: It’s fastidiously constructed, as one should expect from a director of Kent’s talent, and ferociously acted by her leading trio of Aisling Franciosi, Baykali Ganambarr and Sam Claflin.
  5. Compared to the eight films preceding it, the mindlessness of Hobbs & Shaw isn’t a sign of humble poptimist genius, just of something less than what it could have been.
  6. The greatest achievement Tarantino pulls off here is, by pure force, to yank this era back to life, to recreate it and revive it as if driven by some sort of religious mania.
  7. Levant gives The Mountain context, structure, bones.
  8. This is a universally powerful story, with terrific songs and countless funny and fascinating supporting characters. It’s a classic of performance and sensation. This version, seemingly by design—like that was the damned plan all along—drains every bit of life from it … in order to make it more “realistic.”
    • 60 Metascore
    • 80 Critic Score
    Crawl is a brilliant ode to the magical realism of Florida and how, when made with craft and care, few movie-going experiences are as good as creature-features in the hottest month of the year.
  9. Stuber, although supported by the odd-couple chemistry between its two leads, ends up as stale as if it was made 20 years ago.
  10. Ladkani’s camerawork is agile and sleek, and the editing is super-sound, so even with a complicated web of crime, corruption, socioeconomic tension, multiple languages, blurred-out faces and folks who operate in the dark, it’s easy to follow.
  11. It’s (relatively) small, sincere and funny, and has more than your usual MCU allotment of post-credit bombshells.
  12. Like a particularly bad trip, Midsommar bristles with the subcutaneous need to escape, with the dread that one is trapped. In this community in the middle of nowhere, in this strange culture, in this life, in your body and its existential pain: Aster imprisons us so that when the release comes, it’s as if one’s insides are emptying cataclysmically. In the moment, it’s an assault. It’s astounding.
  13. This isn’t a movie in search of a greater meaning. It just needs to be entertaining. But it does both, and better still, it bothers to be creative.
  14. The first thing to note about Toy Story 4 is that it is extremely funny: I’d argue it’s the most consistently comedic of the entire series
  15. Director Nisha Ganatra, who also comes from TV, doesn’t really create a cinematic experience that begs to be seen on the big screen, but treats the characters and the setting with enough depth to breathe life into an otherwise tired project.
  16. The movie doesn’t drag, but it’s a major drag all the same.
  17. It turns out, after the third attempt to recapture the magic of the first film, that the Men in Black universe is not a particularly compelling one after all. Probably time to move onto something else. They’re all tapped out here.
    • 64 Metascore
    • 75 Critic Score
    I Am Mother offers just enough of a twist on an old futuristic tale to be enjoyable, and its small cast buoys the film above most small-budget sci-fi.
  18. At nearly two-and-a-half hours, Rolling Thunder Revue is overlong but also overpowering, inconclusive yet undeniably stirring. It left me exhausted, but I kinda want to see it again.
  19. Dark Phoenix was always destined to fail. Limiting the sprawling story to one main arc severely debilitates the original’s emotional resonance, but avoiding Apocalypse’s swollen plot and stakes-less character narratives means reigning in an essentially big saga and cutting all of its awe down to some rote CGI. To make this work in one movie is to deny the essence of the source text.
  20. At its best, The Perfection is an homage to 1970s horror movies and 1980s thrillers, a glorious, multi-hewed mind screw.
  21. Juxtaposing human-sized drama against classic Toho iconography and one jaw-dropping silhouette after another, King of the Monsters is often more magnificently overwhelming than not.
  22. With music that breathes new life to beloved songs with an emphasis on percussion and horns, and production designer Gemma Jackson’s luscious world building that borrows from various Middle-Eastern cultures as added pedigree, Aladdin is the rare remake that actually gives us a whole new world.
  23. Artistically, For the Birds is admittedly not groundbreaking. It’s rustic and basic and in some instances a bit muddled. At times it lacks a cogent forward thrust. But it illuminates something we might not think about very much, which is what is actually going on in the mind of a hoarder, and how the pathology of such a person ramifies on other people (and animals).
  24. Asako I & II is an easygoing movie, at least if the film’s exterior is taken at its words. Under the hood, it’s roiling.
  25. The sweetness of the film finds an amusing complement in its strange eroticism, itself part of the queerness of its genre mixing.
  26. As video games and action movies parabolically draw closer and closer to one another, John Wick 3 may be the first of its kind to figure out how to keep that comparison from being a point of shame.
    • 53 Metascore
    • 77 Critic Score
    While there ample missteps—a villain the audience doesn’t really care about, a lack of epic fights that brought the original audience to both the games and shows, and a predictable plot—the film manages to be a hell of a lot of fun, capturing the spirit of its source material as effectively as a well-aimed Poké Ball.
  27. A hushed, unassuming, intimate movie to remind audiences of the power of cinema by interrogating the definition of cinema itself.

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