Lawrence Toppman
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For 1,434 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 The Dark Knight
Lowest review score: 0 Left Behind
Score distribution:
1,434 movie reviews
    • 33 Metascore
    • 38 Lawrence Toppman
    If you're the kind of person who goes to the movies primarily to watch faces melt to pulp, you won't be disappointed.
    • Charlotte Observer
    • 65 Metascore
    • 38 Lawrence Toppman
    The year's least necessary and most unimaginative remake slogs half-heartedly to its pre-destined conclusion without making a ripple.
    • 43 Metascore
    • 38 Lawrence Toppman
    "Man" is like a sour, half-formed version of a TV sitcom full of dislikable, disconnected characters.
    • 27 Metascore
    • 38 Lawrence Toppman
    Should appeal to anyone who likes films as mushy and unsurprising as baby food.
    • 48 Metascore
    • 38 Lawrence Toppman
    When Allen revives his plodding "Manhattan Murder Mystery" as the even duller Scoop, I snore.
    • 17 Metascore
    • 38 Lawrence Toppman
    The movie is somewhat below average. The plot doesn't always hold together.
    • 44 Metascore
    • 38 Lawrence Toppman
    What comes from the mouth of Johnny Depp...not the crucial spark of wit or insight that could encourage us to spend two hours with this cruel bore.
    • 44 Metascore
    • 38 Lawrence Toppman
    Satire's funniest when it's true, but Rock exaggerates and mistimes too many jokes.
    • 63 Metascore
    • 38 Lawrence Toppman
    The film is a saggy, oddly mean-spirited takeoff of "Walk the Line."
    • 53 Metascore
    • 38 Lawrence Toppman
    An unmemorable, frenzied, characterless hodgepodge that delights the eyes while numbing the brain.
    • 48 Metascore
    • 38 Lawrence Toppman
    The shreds have vanished in Charlie's Angels: Full Throttle, which runs at that speed during its stunts but is utterly out of gas in every other way.
    • 43 Metascore
    • 38 Lawrence Toppman
    Isn't a bad movie, until John Woo remembers that he's John Woo and we remember that Ben Affleck is Ben Affleck.
    • 22 Metascore
    • 38 Lawrence Toppman
    M. Emmet Walsh and Elizabeth Franz enliven the film as a couple across the street...These wonderful old actors briefly raise the level of the picture to the kind of warm but honest drama it ought to have been.
    • 47 Metascore
    • 38 Lawrence Toppman
    The Girl Next Door is to "Risky Business" what near-beer is to beer. If you're desperate for a mild buzz, you might make it do.
    • 31 Metascore
    • 38 Lawrence Toppman
    Has any movie this millennium had less reason to exist than First Daughter?
    • 57 Metascore
    • 38 Lawrence Toppman
    The sequel doesn't develop the characters, interject any warmth into its frenetic story or take us anywhere we haven't been.
    • 35 Metascore
    • 38 Lawrence Toppman
    Williamson deals mostly in cliches, as if high schoolers weren't smart enough to appreciate anything subtler.
    • 34 Metascore
    • 38 Lawrence Toppman
    We don't need a discussion of plot in a review of a movie made from a video game, do we? Nor do we care whether the characters are complicated (no), the acting is sophisticated (no), the direction is competent (no) or the camerawork is clever (no).
    • 37 Metascore
    • 38 Lawrence Toppman
    Recycling is a good idea in principle, but certain products should be sent directly to a landfill without re-use. Be Cool, the feeble film follow-up to "Get Shorty," is one of them.
    • 50 Metascore
    • 38 Lawrence Toppman
    Quirkiness is as essential to a small indie film as beef stock to French onion soup. But if you don't have enough of any other ingredient, you end up with a watery, barely edible broth.
    • 38 Metascore
    • 38 Lawrence Toppman
    Like so many sequels, The Chronicles of Riddick demonstrates Hollywood's law of diminishing returns: Its quality is inversely proportional to its budget.
    • 56 Metascore
    • 38 Lawrence Toppman
    Feeble, vapid picture.
    • 45 Metascore
    • 38 Lawrence Toppman
    If you have a strong stomach, a weak sense of disbelief, an active interest in Denzel Washington or Angelina Jolie and a temporarily inactive brain, you may enjoy it awhile.
    • 68 Metascore
    • 38 Lawrence Toppman
    It's "Braveheart" without historical significance and "Passion" without spirituality, though it dabbles in both, and it represents as brazen an act of career suicide as I can recall from a star director. If he were a first-timer, he'd never work again.
    • 77 Metascore
    • 38 Lawrence Toppman
    Writer Guillermo Arriaga earns most of the blame. He played similar games with narrative in the vastly better "Amores Perros" and "21 Grams," jumping back and forth in time to show relationships among subplots and characters. But "Burials" barely has one plot.
    • 76 Metascore
    • 38 Lawrence Toppman
    It's ploddingly directed, indifferently acted and insufficiently frightening.
    • 38 Metascore
    • 38 Lawrence Toppman
    A miler trying to run a marathon, a fair middleweight idea trying to deliver heavyweight thrills.
    • 28 Metascore
    • 38 Lawrence Toppman
    Director Richard Donner finds a few startling images for bloody battle scenes, but awful dialogue prevents the actors from giving performances of any depth.
    • 44 Metascore
    • 38 Lawrence Toppman
    Has the sex appeal of a Road Runner cartoon, one-tenth the laughs and equal plausibility.
    • 43 Metascore
    • 38 Lawrence Toppman
    Delivers more of what the original promised, with the crudity index up one notch and the humor index down quite a few.

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