Paste Magazine's Scores

For 591 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 5.1 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: 31 out of 591
591 movie reviews
  1. Wheaton is the film’s first exceptional element. The second is Stevenson’s restraint.
  2. Wacky, smart, engaging and exciting, Get Duked! represents the next step in the Wright/Cornish school of 21st Century British comedy.
    • 70 Metascore
    • 74 Critic Score
    Epicentro depicts Cuba as a land that has long battled imposed polarities akin to that false Renaissance dichotomy: barbarous and noble—utopian and dystopian, scenic and impoverished. Intimate images in an age of transition: Sauper finds a view of modern Cuba between the contradictions history has forced onto it.
    • 78 Metascore
    • 91 Critic Score
    The self-awareness of the film could have been unbearable, except awareness (and our fragmentary experience of it) is so entirely the point of everything that the film is wrapped up within and that is wrapped up within it.
  3. While glorious to look at, the movie still feels slightly hollow. All the right pieces are there, but an emotional connection to the characters is lacking.
  4. Tenet is basically a series of heists—smaller puzzle boxes within the larger one—which means while the viewer may not understand exactly what’s going on big picture, they will find the immediate action briskly paced and compellingly presented.
  5. Don’t confuse Becky for a smart movie. It won’t teach audiences anything valuable, or even new, about the disease of white supremacist ideology. It won’t leave folks holding hands in solidarity against racism and prejudice at a time when solidarity is like oxygen. It will, however, provide a brief burst of catharsis through the brutal slaughter of white supremacist ideologues, for whatever that catharsis is worth.
  6. A sequel of rare sincerity, Bill & Ted Face the Music avoids feeling like a craven reviving of a hollowed-out IP or a cynical reboot, mostly because its ambition is the stuff of affection—for what the filmmakers are doing, made with sympathy for their audience and a genuine desire to explore these characters in a new context. Maybe that’s the despair talking. Or maybe it’s just the relief of for once confronting the past and finding that it’s aged considerably well.
  7. Lingua Franca has a lived-in sensibility facilitated by Sandoval’s empathy and understanding of what Olivia’s going through. It’s the film’s best quality: a firsthand knowledge driving an earnest request to be seen and respected, as an American and as a woman. Olivia isn’t asking for much. There’s no reason to deny her.
    • 68 Metascore
    • 65 Critic Score
    For a film with multiple power imbalances, I Used to Go Here never dares betray its light and breezy tone in order to properly explore these toxic relationships in any meaningful way.
  8. Director Yeon Sang-ho, who staged genuinely tense sequences in the first film, just seems suddenly out of his element here when expected to produce a grander action spectacle.
  9. Golja and Gossett’s joint appeal—his rascally charm, her coltish earnestness—gives The Cuban soul, shining light through the gloom of brain decline and the horrors of an ambivalent healthcare system. Who needs validation when you have heart?
  10. She Dies Tomorrow is both the perfect film for this moment and also the worst viewing choice possible considering the circumstances.
  11. Arterton’s at a peak in her career here, repurposing bits and pieces of her work in Their Finest for a film with much more intentional sentiment.
  12. Garai’s array of filmmaking techniques are impressive and haunting, breathing an unsettling melancholy into her script.
    • 47 Metascore
    • 58 Critic Score
    Lake of Death would have been better off talking less, and scaring more.
  13. The Rental has De Palma vibes with Fincher’s cool, but lacks the former’s exploitative pleasures and the latter’s cinematic expertise. It is, however, satisfyingly composed in terms of approach, giving the audience flashes of brutality to come or shooting it from a distance, heightening the shock and lending bloodshed sharp flinching power.
    • 76 Metascore
    • 79 Critic Score
    Relic posits that old age is not something to be reviled or worshiped, instead viewing aging as a continual process as opposed to a fearful spectre.
    • 76 Metascore
    • 81 Critic Score
    For Mercado, the real journey is not understanding himself on this mortal plane, but rather to prepare for the many riches that come with experiencing the cosmic afterlife.
  14. So, yeah, The Old Guard may be comfort food, but during this particular year, and thanks in large part to this particular cast and crew—it will hit the spot for many.
    • 78 Metascore
    • 75 Critic Score
    For a director with no feature-length experience prior to this, Pierret pulls off an entertaining, well-staged action flick that does much well even if it does little new.
  15. Using Barbakow’s direction and Andy Siara’s script as filters, Palm Springs presents viewers with a blend of soft science fiction, raucous punchlines, and human drama, the last of these encompassing self-loathing, grief, love and high anxiety.
  16. The Beach House plays an adept slow burn game. Brown fleshes his characters out nicely, giving them all ballast without worrying about whether we’d want to sit down for shellfish with them.
  17. It’s a frank and vital message for our cold civil war era.
    • 54 Metascore
    • 77 Critic Score
    This may not be Assayas operating at the peak of his powers, but there’s no use in denying the thrilling efficiency that propels the overstuffed yet nimble two hours of Wasp Network.
    • 73 Metascore
    • 49 Critic Score
    When Miss Juneteenth isn’t trafficking in tropes, it’s a history lesson, and not the entertaining kind where you forget you’re actually learning; the textbook kind.
  18. This movie is a painful, beautiful and especially true gem.
  19. You Should Have Left works when it’s a streamlined campfire ghost story, but the unnecessary bells and whistles weighs it down. Still, it’s just good enough to work as a timewaster for genre fans.
    • 76 Metascore
    • 65 Critic Score
    With such a fascinating “friendship” at work, Shirley could have spent less time on the impact of the husbands on the creative and personal endeavors of their wives, but it doesn’t.
  20. The film is overwhelming, dizzying, not easily consumed on first viewing, but it’s also powerful, affecting and so stuffed with great work in front of and behind the camera that Lee’s outsized intentions wind up feeling like part of the experience.

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