Paste Magazine's Scores

For 374 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 97 Dunkirk
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Negative: 25 out of 374
374 movie reviews
    • 71 Metascore
    • 77 Critic Score
    Ralph Breaks the Internet provides a fun, family-friendly time at the movies. It may lack the nostalgia-fueled power of the original, but it has a potent power source of its own in the messages it conveys.
  1. Rather than being concerned with historical authenticity (Sandy Powell’s costumes are gorgeously anachronistic), Lanthimos gestures towards an emotional reality that posits the lover and the loved as soldiers, capable of being a casualty in what each party believes is a greater cause. What a blazing and burning feat of melodrama.
  2. The film’s emotional arc is much like that of a child’s temperament: capricious and stubborn, equally prone to flights of whimsy opposite episodes of over-dramatic tantrums. This isn’t a criticism per say, but it’s worth mentioning in light of how this quality of Mirai’s storytelling may frustrate some audiences even as it endears itself to others.
  3. Shoplifters is held up by the strength of its ensemble and Kore-eda’s gifts as a storyteller, which gain with every movie he makes—even in the same year.
    • 90 Metascore
    • 89 Critic Score
    Thought the harmony between Lee’s film and Murakami’s text, even as different as they are, is something of a paradox—Lee makes notable changes to the protagonist; fleshes out Murakami’s story to create the film’s first two acts, adding a powerful third—Burning belies the notion that auteurs in different mediums can’t fully co-exist in the same work.
  4. It’s often said that going into business with family is a terrible, horrible, no good, very bad idea, but Clara’s Ghost provides an exception to this particular rule.
  5. Never-Ending Man is an impressive documentary.
  6. Ultimately, this particular intensely collaborative endeavor clicks on all cylinders in a manner even the MCU could learn from. As a result, Spider-Man: Into the Spider-Verse vaults into consideration as one the best Spider-Man films ever.
  7. Like a sack of shiny baubles, there may be plenty of sparkle, but the story being pieced together from the jumble is told with all the narrative flair—and nearly equal amounts of exposition—of a Wikipedia entry.
  8. Sure, Widows is a dynamite entertainment, but it’s also more mournful, thought-provoking and intelligent than that.
  9. Despite the rarified standard of living in the film industry, I think it’s safe to say that superior intelligence has not taken possession yet. But something has. And somewhere in Heaven, Ed Wood is gazing down and going, “Dang.”
  10. Where Hill’s characters fill every frame with warmth and empathy, the world they inhabit is as contrived as a memory one trusts too much.
  11. It never hurts to be reminded of how powerful storytelling actually is.
    • 64 Metascore
    • 81 Critic Score
    Much of Guadagnino’s Suspiria feels beholden to nothing, indulgent and overwrought, existing only for itself. Art should never have to justify its own existence, but also: Why does this exist? What motivations conceived this film that seems to want very little—to maybe even dislike—the movie on which it’s based? And yet, it’s unforgettable.
  12. There are some individual moments and elements to like here, but taken as a whole, Bohemian Rhapsody is mostly a flatline with occasional blips of life here and there—and not nearly enough to bring the whole body back from the dead.
  13. Casting Amandla Stenberg to carry the project was an inspirational choice: She’s luminous and always captivating in the part, delivering a natural performance that allows easy access to Starr’s soul.
  14. David Gordon Green’s Halloween is an intensely frustrating experience, buoyed by solid action and well-crafted scares, but simultaneously damned by an incredibly clunky script and appalling lack of focus.
  15. While it flares up before fizzling out in its final moments, the view is admittedly entertaining and worth witnessing if only to relish in the thrill of its visual excess.
  16. This movie isn’t just about America, or the collective power of the human imagination, or one man’s heroism, or one woman’s strength in his absence. It is about how being human can mean cruelty and tragedy and loss and unimaginable pain … and how that’s still not enough to defeat us, not by a long shot.
  17. As moving as the families’ recoveries can be, and as earnest as Greengrass is at trying to honor their stories, there is an undeniable waft of the familiar in his dramatization of their difficulties. Greengrass hasn’t found a new spin on this sort of material. You admire the resilience, but I’m not sure Greengrass makes you feel it.
  18. This is the most engaging and emotionally effective Moore doc since Bowling for Columbine.
  19. The Old Man and the Gun is a jaunty joyride, a valedictory for a beloved American icon and a giddy true story. But Lowery ties it all together at the end: It’s a story about how the years go by, and who we are. It’s a story about all of us.
  20. As the crimes of the deportation haunts Bisbee and its inhabitants, so, too, are we haunted by them through the filter of Greene’s lens. But that experience, the experience of being haunted, proves vital. Maybe it’s necessary to let history haunt us. If we don’t, we’ll never be able to move beyond it.
  21. For every nice small observation and delicately detailed bit of emotional truth, A Star Is Born is, in a larger sense, trapped by its own construction. Yes, it can be quite moving—but it’s moving precisely how you might imagine it would be.
  22. As delightful as relentless CGI monster mayhem is—and there’s plenty to go round as The House with a Clock in Its Walls rolls through its final act—it’s the lovely character work that makes the story memorable. Roth and his cast pack a surplus of exuberance into a children’s fantasy mold that’s by now grown musty.
  23. It’s occasionally delightful, frequently funny, and good enough to make me look forward to what Greer will do next behind the camera.
  24. The movie is a shameless, relentless wreck.
  25. Abrahamson can transition seamlessly between static James Ivory-type long shots of the soothing English countryside, easing the audience into a sense of comfort that comes with the high-class beauty of the period drama, and uncomfortable close-ups of faces, weaning in and out of focus, daring us to confront the neuroses of the characters head on. Underneath the veneer of uber-polite socializing is a vast inner turmoil.
  26. As messy and predictable as its plot can get, A Simple Favor is an engaging throwback to the aforementioned tongue-in-cheek mysteries, drawing much of its energy from the chemistry between Kendrick and Lively. It need not be any more than that.
  27. The Public Image is Rotten’s soundtrack is, of course, great, and the candidness from former bandmates regarding their backstabbing and youthful mistakes is certainly refreshing, but it’s all wrapped in a package wearing dad jeans: too safe, too simple, too given to a happy ending.

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