Paste Magazine's Scores

For 333 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 3.2 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: 22 out of 333
333 movie reviews
  1. In its keen and sensitive and moving observations about the uncertainty in being Asian-American, it’s always drifting, and Wu’s incredible ability to convey all those ideas wordlessly is what makes the film more than just about a material China girl.
  2. More giggle-inducing than terrifying, The Meg throws enough incidents at you that it simulates the feeling of being entertaining.
  3. Trump plays no part in Rachel Dretzin’s Far from the Tree, a documentary distilled from Andrew Solomon’s nonfiction novel of the same name, but the film rebukes his cruelty regardless by doing what cinema does so well: highlighting humanity.
  4. This movie is unbalanced and constantly fluctuating and as uneven as you’d expect from Spike Lee, but this time that works for the film rather than against. There’s a nationwide emergency, and Spike Lee, with BlacKkKlansman is screaming in your face for action at every turn.
  5. Very rarely do you get the sense that anyone involved in Christopher Robin had a really strong take on the material or an innate understanding of why these characters have resonated for nearly a century.
  6. This film is occasionally funny. But not super-funny. It’s occasionally poignant. But not a heavyweight on the drama side, either.
  7. Gus Van Sant’s film certainly captures how Callahan used whimsy as a defense mechanism against seemingly insurmountable real-life conflict, but Don’t Worry, He Won’t Get Far on Foot captures little of how Callahan’s art was such a vital part of that whimsy.
  8. All of the plot developments, including the third act twist, are predictable for aficionados of the genre, but the many successful standalone comedy and action sequences, as well as the natural chemistry between Kunis and McKinnon, keep us going.
  9. McQuarrie’s sense of building a scene on the barest of elements, communicating the most empirical of information, is so breathlessly impeccable, the plot barely seems to matter aside from creating easily understood stakes and giving Ethan Hunt a reason to keep, in the parlance of the film, figuring it out.
  10. This is one of those rare occasions in which a movie uses the dusty trope of turning a group of oddball misfits into a “family” and actually pulls it off in an emotionally satisfying way.
  11. The greatest miracle of Eighth Grade is its warmth. The film reflects arguably the worst stretch of growing up in America’s education system, but it’s rarely if ever ugly. Instead, it’s compassionate, radiating retroactive kindness for the children we all were to soothe the adults we are now.
  12. The Third Murder may not be Kore-eda’s best work, but the film proves a satisfying challenge, a complex exploration of sin and righteousness in an amoral world.
  13. As a birds’-eye view bio of the career of an important comedian who died too young, this film is funny, poignant and informative.
  14. For every overgeneralization Macdonald leans into or too-obvious historic parallels he lets fly, there is a corresponding performance, ebullient and transcendent—a purity Macdonald, and his viewers for that matter, can’t help but sour.
  15. Sorry to Bother You has so many ideas busting out of every seam, so much ambition, so much it so urgently wants to say, that it feels almost churlish to point out that the movie ends up careening gloriously out of control.
  16. At its best The First Purge functions like a much-reduced Purge movie retread. It’s not that it’s bad, really. It’s that we’ve seen this before.
  17. Tau
    It’s just passable popcorn entertainment for a Friday night on the couch, and not on the same level as more inspired Netflix genre movies from the likes of Mike Flanagan, such as Hush or Gerald’s Game.
  18. The movie’s action is no-nonsense, no-frills explosions and machine gun stuff, and it lacks the soaring vision of Villeneuve; Sollima is much more of a plunge-forward linear filmmaker. That approach has its advantages, though, and while I wouldn’t have wanted Sollima to try to tackle some of the thornier ethical issues of the first film, he’s more than capable of rampaging through and past them here.
  19. What Leave No Trace portrays so beautifully, with so much unspoken grace, is that divide between living and surviving to live. One can find all of that dissonance in Foster’s fathomless eyes.
  20. The movie is ultimately harmless, trivial puffery that vanishes from your brain as quickly as you experience it.
  21. If The Year of Spectacular Men makes any kind of statement, it’s that Madelyn and Zoey ought to work together more often. Put simply, they’re amazing, lively, sharp, snarky with a side of cheer—for the time being The Year of Spectacular Men feels like their gift to us, an unexpected blend of comedic tones and a perfectly bittersweet summertime respite.
  22. Tag
    Tag is a bit of a mess, the well-paced runtime not allowing gag-based physical comedy and dramedy to exist equally on the same plain, just barely fun enough to keep an otherwise one-joke premise elevated.
  23. This film is basically 100% about message, and that message is a dire one. There are probably people who will accuse this film of propagandizing or sensationalizing or exaggerating, but from what I can tell, that’s not particularly the case.
  24. Though the addition of “extras” like multiple locations, a larger cast of non-fodder characters and oh, actual dialogue, makes The Raid 2 much less unique a film than its predecessor, it still registers as a pretty vibrant entry into the Yakuza genre.
  25. The newest Marvel blockbuster-to-be boasts an array of well-cast leads and supporting characters; a crisply paced, sensible plot; and above-average dialogue. Even more importantly, every scene and every character interaction prove that the movie’s creative team truly understands the core appeal of Cap himself—the tone of not just the character, but the comic book series from which he springs.
  26. Ultimately, The Amazing Spider-Man 2 is noteworthy for one thing—not waiting until the third or fourth film to achieve the overstuffed, increasingly garish look one associates with less popular (2007’s Spider-Man 3) and outright ridiculed (1997’s Batman and Robin) franchise efforts.
  27. Marvel’s rambunctious entry into the space opera genre—and the cornerstone of its “Cosmic Marvel” roster of characters and storylines—so perfectly embodies what the preceding months of hype and hope foretold that even its weak points (and it has its share) feel almost like unavoidable imperfections—broken eggs for a pretty satisfying omelet.
  28. Ant-Man has more than its share of logic lapses and convenient (read: sloppy) scripting, but most viewers won’t care. In much the same way Guardians of the Galaxy was powered by the charisma and affability of Chris Pratt, Ant-Man is buoyed by the charm of Rudd.
  29. As far as structure, The Hunger Games: Mockingjay – Part 2 has pretty much the same flaws as its source material. Freed from the confines of the literal arena from the first two books/movies, the overarching sequence of events seems ragged by comparison.
  30. Star Wars is fun again. Fans whose love for the series was forged with the Original Trilogy will see too much they recognize (and, later, missed) not to love this effort.

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