Pacing is not cutting speed. A piece cut every eight frames can feel slow if nothing changes, and a four-minute static shot can feel fast if the situation shifts continuously. What is being measured is change per unit time, which is why the fix for a slow piece is usually a structural one rather than an edit one.
It also has to vary. Uniform pace of any speed becomes a rhythm and rhythms become inaudible; the sense of acceleration in a well-made third act comes from the contrast with a slower second, not from absolute speed. Removing every slow moment removes the thing that made the fast ones feel fast.
The practical test is to list what changes every ten seconds. A stretch with nothing in it is the slow part, and it will be the slow part whether you cut it faster or not.
What is pacing in film?
The rate at which change and new information arrive. It is not cutting speed: a fast-cut sequence in which nothing changes feels slow, and a long static shot with a shifting situation feels fast.
How do you fix slow pacing?
List what changes every ten seconds. The stretches with nothing in them are the slow parts, and cutting them faster will not help — they need a change or they need to go.