Lawrence Toppman
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For 1,435 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Hero
Lowest review score: 0 Left Behind
Score distribution:
1,435 movie reviews
    • 80 Metascore
    • 100 Lawrence Toppman
    Pearce, who's in every scene except the Sammy flashbacks, dominates the picture through his feral performance.
    • 82 Metascore
    • 100 Lawrence Toppman
    Classically scary.
    • Charlotte Observer
    • 85 Metascore
    • 100 Lawrence Toppman
    The result is a film that has "Masterpiece Theatre" production values but not an ounce of dust upon it.
    • 87 Metascore
    • 100 Lawrence Toppman
    An experience as tender and troubling as any you're likely to get - or not likely, if this subject puts you off.
    • 74 Metascore
    • 100 Lawrence Toppman
    The title comes from the memoir by Mariane Pearl, wife of kidnapped Wall Street Journal reporter Daniel Pearl. It applies equally to Winterbottom, who has made the rarest movie among this summer's releases: a taut police procedural that examines all sides of an issue and forces us to re-think our own.
    • 66 Metascore
    • 100 Lawrence Toppman
    To talk more about the movie's layers is to risk giving away too much. I'll say only that this film confirms Nolan's status as the director whose work I look forward to more than any other.
    • 96 Metascore
    • 100 Lawrence Toppman
    You can’t exactly call Alfonso Cuarón’s Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3-D effects, heroes-in-jeopardy storytelling and emotional depth.
    • 83 Metascore
    • 100 Lawrence Toppman
    Watching it again reminded me how remarkably the sound engineers did their jobs. Listen to the subtly amplified heartbeat - Ripley's? the ship's? - that pulses under the soundtrack through the last 15 minutes.
    • 92 Metascore
    • 100 Lawrence Toppman
    Jackson surpasses the expectations anyone might have had for him with The Fellowship of the Ring, the first installment of his trilogy devoted to J.R.R. Tolkien's masterwork.
    • 83 Metascore
    • 100 Lawrence Toppman
    The film is visually sumptuous, morally ambiguous, dramatic and dreamlike, with a narrative as engrossing as any live-action movie of 2013. It’s easy to follow yet hard to shake.
    • 94 Metascore
    • 100 Lawrence Toppman
    U.S. geography doesn't matter to Payne. He always charts the terrain of the human heart, and he's among the wisest of mapmakers.
    • 82 Metascore
    • 100 Lawrence Toppman
    Has an honesty few movies seek or achieve these days.
    • 95 Metascore
    • 100 Lawrence Toppman
    David Fincher obsesses about obsessive people.
    • 85 Metascore
    • 100 Lawrence Toppman
    This meditation on spirituality, loneliness and accountability could touch your heart's core.
    • 83 Metascore
    • 100 Lawrence Toppman
    As we bounce over rough seas on the Maersk, we know just what will be lost if the Somalis don’t keep their trembling fingers off their triggers. As the title suggests, this is not a movie about an incident: It’s a movie about a man who stays very real to us.
    • 81 Metascore
    • 100 Lawrence Toppman
    To call it a masterpiece is premature: That's a title to be earned only in retrospect. But I've seen it twice now and can't imagine what I would change. It fits together tightly as a suspenseful puzzle, yet it's also emotionally rewarding and sardonically funny.
    • 86 Metascore
    • 100 Lawrence Toppman
    The most atmospheric thing in the movie is Farnsworth's face.
    • 79 Metascore
    • 100 Lawrence Toppman
    One of the most uncompromisingly bleak films I've ever seen.
    • 84 Metascore
    • 100 Lawrence Toppman
    Breathtaking masterpiece.
    • 85 Metascore
    • 100 Lawrence Toppman
    One of the most heartbreaking, unforgettable dramas in years.
    • 70 Metascore
    • 100 Lawrence Toppman
    Its uniqueness lies in its juxtaposition of happy faces and unhappy realities, of fleeting expressions of art and culture undone by daily brutality.
    • 83 Metascore
    • 100 Lawrence Toppman
    Most documentaries put us inside people's heads. The dazzling, experimental Pina puts us inside people's feet.
    • 85 Metascore
    • 100 Lawrence Toppman
    A dark comedy that's as emotionally honest as any picture of 2002.
    • 91 Metascore
    • 100 Lawrence Toppman
    It's encouraging to see a nation so aware of its public image and defensive about its military decisions examine a dark day in its history.
    • 94 Metascore
    • 100 Lawrence Toppman
    Jackson had the vision, persistence, insight and patience for this mighty job, plus the smarts to shape stage veterans and overlooked film actors into a seamless cast. He's made himself as immortal as a movie director can be.
    • 80 Metascore
    • 100 Lawrence Toppman
    It'll preach mainly to the choir - lazy thinkers won't attend, despite George Clooney's attachment as director and actor - but maybe it'll wake a few sleepers.
    • 73 Metascore
    • 100 Lawrence Toppman
    This suspenseful drama reveals pieces of its puzzle steadily and slowly, until the final heartrending picture can be seen at last. Remarkably, it comes from a screenwriter who had never had a feature film produced and a director who had never made one in English.
    • 97 Metascore
    • 100 Lawrence Toppman
    Most nations, ours included, still tolerate some form of slavery or indentured servitude. And 12 Years shows the cruelty of denying not only someone’s freedom but his identity. Take away the essence of a human being – whether he’s in fetters or not – and you destroy him.
    • 100 Metascore
    • 100 Lawrence Toppman
    There’s not a great theme, a great performance or even a great scene in Boyhood. But I think it might be a great picture.
    • 82 Metascore
    • 100 Lawrence Toppman
    The usually quiet Zellweger is the revelation: Like her character, the actress seems happily amazed to find herself crossing a polished dance floor, sheathed in silk and diamonds, having the naughty, self-glorifying time of her life.

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