Lawrence Toppman
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For 1,433 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 4.7 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Million Dollar Baby
Lowest review score: 0 Waist Deep
Score distribution:
1,433 movie reviews
    • 42 Metascore
    • 38 Lawrence Toppman
    Ronan, however, transcends the script. She's innocent yet wise, gentle yet forceful. She's the one thing in this picture that shows how great a movie The Lovely Bones might have been, had the people who made it believed in the book with all their hearts.
    • 36 Metascore
    • 38 Lawrence Toppman
    I also wondered how the movie got the title Cradle 2 the Grave. Nobody used the phrase; it didn't apply to any characters; it didn't even turn up in a song. Maybe the filmmakers were saving "Rotten 2 the Core" for the sequel.
    • 26 Metascore
    • 38 Lawrence Toppman
    No one associated with the film tries very hard, from cinematographer Peter Deming -- San Francisco has never looked so drab -- to composer Mark Isham, whose watery jazz score is meant to summon melancholy but merely relieves insomnia.
    • 65 Metascore
    • 38 Lawrence Toppman
    If you really must see Miami Vice (and you mustn't), buy a ticket to something better, then slip into "Vice" at the 95-minute mark and watch the last third of the movie. No one involved will profit by your curiosity, and you won't miss a thing of importance.
    • 66 Metascore
    • 38 Lawrence Toppman
    The picture brims over with ideas - good ones, silly ones, maudlin ones, witty ones, absurd ones - and they bump up against each other like ingredients in a vast stewpot that never comes to a continuous boil.
    • Charlotte Observer
    • 44 Metascore
    • 38 Lawrence Toppman
    The sequel to the 2008 hit “Twilight” makes no effort to satisfy outsiders. It's strictly for devotees who won't balk at plot absurdities, clunky dialogue and patchy characterizations.
    • 52 Metascore
    • 38 Lawrence Toppman
    A frantic, heartless hodgepodge of pieces from James Bond movies, Indiana Jones adventures, "Star Wars" and half a dozen legends.
    • 48 Metascore
    • 38 Lawrence Toppman
    Looks as if it were thrown together as carelessly as slum housing.
    • 50 Metascore
    • 38 Lawrence Toppman
    The film's as chaotic and heavy-handed as "Summer of Sam" without the same sense of harsh reality.
    • 24 Metascore
    • 38 Lawrence Toppman
    Excruciatingly flat comedy.
    • 45 Metascore
    • 38 Lawrence Toppman
    The writer-producer-director of American Dreamz makes nearly every mistake in the satirical book. His targets are either too easy or too dated. He's inconsistent in his attitudes toward them. His stereotypes are stale.
    • 47 Metascore
    • 38 Lawrence Toppman
    Just Will Ferrell doing the same man-boy shtick he usually does.
    • 45 Metascore
    • 38 Lawrence Toppman
    A feel-nothing movie – a series of disconnected, implausible incidents that end as arbitrarily as they began, in an effort to inspire emotions the picture never justifies.
    • 33 Metascore
    • 38 Lawrence Toppman
    Writers Pamela Falk and Michael Ellis aim for the soufflé-style comedy audiences ate up greedily 40 years ago, but the film falls flat.
    • 33 Metascore
    • 38 Lawrence Toppman
    Unimaginative.
    • 39 Metascore
    • 38 Lawrence Toppman
    Lee sleepwalks through his part, even in romantic scenes with equally bland Cameron Richardson.
    • 33 Metascore
    • 38 Lawrence Toppman
    It's not only an ultraviolent, ludicrously inconsistent rip-off of Bradbury's idea, but it poisons the well for future efforts.
    • 48 Metascore
    • 38 Lawrence Toppman
    This might all have been silly fun -- as it was in the 1999 version -- except for the carelessness of the whole picture.
    • 50 Metascore
    • 38 Lawrence Toppman
    There's a potentially good story rattling around somewhere inside this broken, self-contradictory and finally meaningless film.
    • 28 Metascore
    • 38 Lawrence Toppman
    Ghost Ship, which can best be described by altering one consonant in the second word, sustains the stylishness of its opening for exactly three minutes.
    • 63 Metascore
    • 38 Lawrence Toppman
    A brazen title card declares this " true story." (Wow, not even "based on.") However many facts may be accurate, the movie feels contrived, with climax piled upon climax.
    • 34 Metascore
    • 38 Lawrence Toppman
    When the film stumbles to its last and silliest conclusion, you realize much of the plot line was unnecessary -- or couldn't have happened at all!
    • 30 Metascore
    • 38 Lawrence Toppman
    It's yet another warm, fuzzy, New-Age tale that cozies us into believing the grave doesn't mean oblivion.
    • 41 Metascore
    • 38 Lawrence Toppman
    Reviewers sometimes insult actors by saying they don't vary their expressions across an entire movie. But until Knowing, I never thought that could literally be true. Nicolas Cage does widen his eyes with about 15 minutes left in the film.
    • 69 Metascore
    • 38 Lawrence Toppman
    The problem isn't that Tarantino's in love with death; it's that he's deadly dull. Even "Natural Born Killers" made a stab at social commentary and satire of America?s celebrity-mad media. Kill Bill merely giggles through gore and asks you to smile at its style.
    • 44 Metascore
    • 38 Lawrence Toppman
    Where "Wedding" introduced us to a Greek family most of us had never seen before, "Connie" plays out like a clumsy episode of "Laverne and Shirley:" familiar, phony and forgettable.
    • 51 Metascore
    • 38 Lawrence Toppman
    Writers John Brancato and Michael Ferris must figure the blinking lights on Angela's screen will cloud our brains. They ask us to ignore plotholes the size of craters... Nor does director Irwin Winkler shoot scenes suspensefully. [28 July 1995, p.9F]
    • Charlotte Observer
    • 47 Metascore
    • 38 Lawrence Toppman
    It's a drab jumble of meaningless action, dull characters and animation as flat and superficial as its story.
    • 48 Metascore
    • 38 Lawrence Toppman
    I've just seen The Core, and I have a piece of advice for Hilary Swank: Don't quit your night job.
    • 64 Metascore
    • 38 Lawrence Toppman
    The outcome is alternately unsatisfying, meaningless, contradictory and laughable.

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