Paste Magazine's Scores

For 366 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 3.3 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 366
366 movie reviews
  1. 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.
  2. Sure, Widows is a dynamite entertainment, but it’s also more mournful, thought-provoking and intelligent than that.
  3. 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.”
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. This is the most engaging and emotionally effective Moore doc since Bowling for Columbine.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. It’s occasionally delightful, frequently funny, and good enough to make me look forward to what Greer will do next behind the camera.
  18. The movie is a shameless, relentless wreck.
  19. 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.
  20. 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.
  21. 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.
  22. As was the case in Cosmatos’s first film, the comparatively sedate Beyond the Black Rainbow, each frame, every shot of Mandy reeks of shocking beauty, stylized at times to within an inch of its intelligibility, but endlessly pregnant with creativity and control, euphoria and pain, clarity and honesty and the ineffable sense that Cosmatos knows exactly how and what he wants to subconsciously imprint into the viewer.
  23. Once all these characters come together, the film’s manic, disjointed first act settles in for some seriously rollicking ’80s-esque hijinks, replete with brand new Predator aliens and a healthy dose of worldbuilding that touches on today’s every hot button issue, from climate change to genetic modifications to anti-ableism that’s actually probably just ableism.
  24. The film’s vistas are beautiful and Matthews’s aim, high, but those aspirations are not fully realized in what feels like a first draft attempt at brushing Western customs with textures drawn from a South African palette.
  25. City of Joy is a piercing little film, by turns appalling and uplifting, that manages to go straight to the heart of a complex issue and contend with it eloquently, bravely, and concisely.
  26. Arizona bathes its absurdist satire in the bleakest humor and takes a sober glance at the consequences of America’s worst modern economic calamity.
  27. What’s immediately surprising and dispiriting about The Happytime Murders is how haphazard the actual puppets are. They aren’t inventively or cleverly put together, and they’re sort of repulsive in a way that’s less “edgy” and more “consistently unpleasant to look at.”
  28. It’s true that no one’s really making films like this anymore, but it’s also true that everyone pretty much wants to.
  29. The documentary’s so simple it feels profound without ever really trying.

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