Paste Magazine

Tomatometer-approved publication
Rating Title/Year Author
3.9/10 Cherry (2021) Jacob Oller It's sporadic and strange, answering every call for substance with style. EDIT
Posted Feb 25, 2021
8/10 The Vigil (2019) Mary Beth McAndrews The Vigil hopefully marks a trend where Catholicism no longer reigns supreme in the world of horror and filmmakers of all creeds can continue to play with decades of generic expectations. EDIT
Posted Feb 23, 2021
7.1/10 Flora and Ulysses (2020) Jacob Oller While a little dark and a little unsteady, Flora & Ulysses still hits most of the right beats and manages to find some resonant, intelligent things to say. EDIT
Posted Feb 19, 2021
7.2/10 I Care a Lot (2020) Jacob Oller I Care A Lot goes off the rails in various ways, but it never leaves behind its central viciousness and gives us plenty of great Rosamund Pike as its thrills work us over. EDIT
Posted Feb 19, 2021
7.1/10 Shook (2021) Adesola Thomas Despite Shook's occasional heavy-handedness, the film mostly reaches the glaring social critiques its strains for. EDIT
Posted Feb 18, 2021
2/10 Music (2021) Joseph Stanichar I can handle its poor pacing and stiff dialogue, but even doing research and writing an essay on the film's problematic elements pre-release were not enough to prepare me for how harmful Music is to autistic people. EDIT
Posted Feb 18, 2021
8.8/10 Judas and the Black Messiah (2021) Adesola Thomas Judas and the Black Messiah's greatest success is not that it somehow humanizes the Black Panthers, but portrays the Black Panther movement as self-evidently legitimate. EDIT
Posted Feb 18, 2021
6.3/10 The Mauritanian (2021) Andy Crump It's an unfortunate irony that a movie about saving Salahi must itself be saved by the man portraying him. EDIT
Posted Feb 13, 2021
7.8/10 To All the Boys: Always and Forever (2021) Amy Amatangelo But aside from the globetrotting and the drama, at the heart of all three To All the Boys movies is the charming Condor, who infuses the movies with validity and radiates happiness. She is a delight to watch-always and forever. EDIT
Posted Feb 11, 2021
7.5/10 PVT Chat (2021) Natalia Keogan While PVT Chat has all the ingredients necessary to entertain any man's sleaziest desires, the film shows a vested interest in transposing sexual gender roles and forgoing vapid misconceptions about sex work and agency. EDIT
Posted Feb 10, 2021
4.2/10 Earwig and the Witch (2020) Andy Crump Earwig and the Witch is, by normal standards, a misfire-and by Ghibli's standards it's much worse. EDIT
Posted Feb 10, 2021
8.6/10 Sator (2019) Jacob Oller As scary as it is, Sator is an experience with enough layers and craftsmanship that its alluring call will rattle in your head long after you've turned it off. EDIT
Posted Feb 9, 2021
3/10 Malcolm & Marie (2021) Andy Crump Malcolm & Marie's few merits-its visuals, its blocking, Washington and Zendaya's go-for-the-throat performances-ultimately corrode on contact with its intent. EDIT
Posted Feb 8, 2021
7.1/10 The Wanting Mare (2020) Jacob Oller The Wanting Mare's storytelling may be elusive, but you'll never stop looking for it with shots like this. EDIT
Posted Feb 5, 2021
6.8/10 A Glitch in the Matrix (2020) Jacob Oller While not compelling enough to be one of the two options-either a destructive or awakening force for our own personal simulations-winkingly proffered in the doc itself, A Glitch in the Matrix still has genuinely gripping segments. EDIT
Posted Feb 4, 2021
5.8/10 In The Earth (2021) Andy Crump With In the Earth, Wheatley hits a brick wall, but he hits it hard enough that whether one sees the film as successful or not, the effort remains admirable. EDIT
Posted Feb 4, 2021
5.9/10 At the Ready (2021) Natalia Keogan It's clear that At the Ready cares more about hailing Democrats as overarching defenders of civil liberties, a designation which is as reductive and harmful as the law enforcement course teachers that routinely categorize lawbreakers as "narcos." EDIT
Posted Feb 2, 2021
6.1/10 Coming Home in the Dark (2021) Natalia Keogan The film doesn't flinch from the premise that revenge must be enacted, instead chewing on the nuances of how and by whom it should be carried out, simply bringing viewers along for the ride. EDIT
Posted Feb 2, 2021
8.3/10 We're All Going to the World's Fair (2021) Andy Crump Think of We're All Going to the World's Fair as a morbid spiritual cousin to Eighth Grade if Kayla Day tripped and fell down a creepypasta rabbit hole without so much as a Hare or a Hatter to chaperone her. EDIT
Posted Feb 2, 2021
5.6/10 Eight for Silver (2021) Natalia Keogan While it's commendable to take viewers outside of the established iconography, the filmmaker must make an effort to establish a mythology that is at least marginally innovative. EDIT
Posted Feb 1, 2021
4.5/10 Land (2021) Jacob Oller Robin Wright's directorial debut may be named Land, but it certainly doesn't tread any new ground. EDIT
Posted Jan 31, 2021
7.1/10 The Pink Cloud (2021) Natalia Keogan Yet the film captures more than the oppressive boredom and listlessness that an extended quarantine entails, as the cloud itself makes a striking allegory for the imposition of traditional tenets of femininity in conventional heterosexual relationships. EDIT
Posted Jan 31, 2021
7.3/10 Cryptozoo (2021) Natalia Keogan The film's critique of capitalism dovetails with its negative view of American countercultural movements, arguing that the commodification of these movements deters them from making any kind of change; the real-world parallels are evident. EDIT
Posted Jan 31, 2021
8.3/10 El Planeta (2021) Natalia Keogan El Planeta's end-credit crescendo gets at the heart of national insecurity and delusion, complete with cameos from Martin Scorsese and the royal family of Spain. EDIT
Posted Jan 31, 2021
7/10 The Queen of Black Magic (2020) Jacob Oller This passable tale of supernatural revenge is still worth the night out, even if it could stand to hone its witchcraft. EDIT
Posted Jan 29, 2021
5.9/10 Saint Maud (2019) Andy Crump What lets Saint Maud down most is its screenplay more than its own buzz: Good as Clark is, her performance can't make up for Maud's one-dimensionality and the absence of a proper arc. EDIT
Posted Jan 29, 2021
5.8/10 The Little Things (2021) Christ Stanton The film's stylistic cohesiveness can't quite overcome the tiredness of its story or the lack of specificity in its characters. EDIT
Posted Jan 29, 2021
4.9/10 Miss Juneteenth (2020) Shannon M. Houston 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. EDIT
Posted Jan 27, 2021
8.5/10 PG: Psycho Goreman (2020) Mary Beth McAndrews Psycho Goreman is a necessary explosion of ridiculous fun in a time when it's needed most. EDIT
Posted Jan 22, 2021
8.7/10 The Dig (2021) Aparita Bhandari The film beautifully brings the account of the people behind one of England's most famous archaeological events to life. EDIT
Posted Jan 22, 2021
8.5/10 Some Kind of Heaven (2020) Jacob Oller Some Kind of Heaven leaves its subjects' stories without ends-except the one end everyone knows is coming for us all-basking in the beautiful imperfect potential of an open door, an empty calendar day, a bare dance floor. EDIT
Posted Jan 15, 2021
7.5/10 London Hughes: To Catch a D*ck (2020) Clare Martin Hughes' first Netflix special is by no means perfect, but her introduction to American audiences is unforgettable. Whatever we see her in next, Hughes will use everything at her disposal to make it worth tuning in. EDIT
Posted Jan 15, 2021
7.7/10 Hunted (2020) Andy Crump Hunted doesn't exactly rewrite the original tale, but it doesn't have to. It just has to have teeth, and Paronnaud's kept those canines sharp and savage. EDIT
Posted Jan 14, 2021
8.9/10 One Night in Miami (2020) Andy Crump They're an imminently compelling group, and King's an imminently talented filmmaker who understands that directing is all about knowing where to place the damn camera. She knows. EDIT
Posted Jan 14, 2021
3/10 Locked Down (2021) Jacob Oller Locked Down has all the slipshod signs of running headlong into a topical story far too quickly: The scenario doesn't work because nobody's had the decency to wait and think, nor the maturity of thought that time brings an idea. EDIT
Posted Jan 13, 2021
8.1/10 Monster Hunter (2020) Mary Beth McAndrews A film that is all about spectacle. There is no need to ask questions or wonder about certain aspects of the plot: This is another dimension populated with monsters, that's all you need to know. [It] asks you to let every fantastical second wash over you. EDIT
Posted Jan 12, 2021
8.3/10 News of the World (2020) Andy Crump Zengel is a fresh spark in an otherwise old-fashioned production, but old-fashioned here is a compliment. EDIT
Posted Jan 12, 2021
8/10 The Midnight Sky (2020) Joseph Stanichar The seasoned actor uses his age well, portraying a deeply regretful and broken man who grasps at the chance to do anything to make up for his past mistakes. EDIT
Posted Jan 12, 2021
5.9/10 Promising Young Woman (2020) Andy Crump The back and forth between revenge and redemption feels like proof of uncertainty more than a critical component of Fennell's thesis, or worse, a lazily caustic tool for avoiding the consequences of her protagonist's actions altogether. EDIT
Posted Jan 12, 2021
8.5/10 Night of the Kings (2020) Andy Crump Night of Kings aesthetic dissonance is discombobulating, but the discombobulation is surprisingly pleasing in its headiness, as Lacôte plays with naturalist filmmaking and spectacle right out of The Lord of the Rings. EDIT
Posted Jan 12, 2021
8.4/10 Shadow in the Cloud (2020) Andy Crump Shadow in the Cloud's themes about sexism and gender roles serve as a rebuke to Landis' authorship, as if Liang put pen to paper with her middle finger squarely aimed at toxic male culture. EDIT
Posted Jan 12, 2021
6.1/10 The White Tiger (2021) Jacob Oller It's attempting to be a pseudo-American Psycho satire, with its central character shown to be a product of capitalism's corruption on the other end of the tax brackets. EDIT
Posted Jan 12, 2021
9.2/10 Elizabeth is Missing (2019) Allison Keene The film is a frustrating work in that it details layers and layers of frustration on every front, but it's also simple, beautiful, and effective. Elizabeth may be missing in a tangible sense, but increasingly in her own life, Maud is too. EDIT
Posted Jan 5, 2021
The Go-Go's (2020) Lizzie Manno Anyone skeptical of serious musicianship coexisting with pop effervescence should seal their lips upon watching The Go-Go's. EDIT
Posted Dec 30, 2020
9.0/10 Soul (2020) Jacob Oller Soul stuffs its playful optimism into a simple message and delivers it with colorful, endearing beauty. EDIT
Posted Dec 25, 2020
Wonder Woman 1984 (2020) Michael Burgin Wonder Woman 1984 has many of the same strengths and weaknesses as its predecessor. Fortunately, the exact mix and proportion of those strengths and weaknesses has shifted for the better. EDIT
Posted Dec 24, 2020
8.8/10 Ma Rainey's Black Bottom (2020) Jacob Oller Ma Rainey's Black Bottom is more than Chadwick Boseman...but his ownership of the film, an Oscar-worthy snapshot of potential and desire, gives it something specific to sing about. EDIT
Posted Dec 18, 2020
9.4/10 Another Round (2020) Andy Crump Here, merriment and melancholy go hand in hand, partners in life's dance just as a stiff drink is an accompaniment to life's pleasures. The combination proves as intoxicating as the fancy-pants cocktails the boys whip up together. EDIT
Posted Dec 18, 2020
9/10 Natalie Palamides: Nate - A One Man Show (2020) Garrett Martin Nate: A One Man Show is a daring farce about consent and machismo that's often hilarious and always provocative. Don't expect anything like a traditional stand-up show, which is one of its strengths. EDIT
Posted Dec 15, 2020
8.3/10 Freaky (2020) Natalia Keogan While the script is solidly crafted by Landon and co-writer Michael Kennedy, there are a few lines that masquerade so poorly as genuine teen-speak that it pulls one out of the story, necessitating that the viewer cackle with embarrassment. EDIT
Posted Dec 11, 2020