Lawrence Toppman
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For 1,409 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 4.6 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Apocalypse Now
Lowest review score: 0 Little Nicky
Score distribution:
1,409 movie reviews
    • 48 Metascore
    • 38 Lawrence Toppman
    Looks as if it were thrown together as carelessly as slum housing.
    • 60 Metascore
    • 38 Lawrence Toppman
    Long before this interminable film reaches its bogus finale, you'll realize that the people in it aren't real.
    • 47 Metascore
    • 38 Lawrence Toppman
    As Disney-fied as "Pinocchio," barely challenging the images Americans have treasured for 150 years.
    • 47 Metascore
    • 38 Lawrence Toppman
    Without a philosophical payoff, without characters whose relationships resonate in our hearts, without explanations for situations that beg for explanations, what are we left with? To quote another great writer of battle scenes: "a tale full of sound and fury, told by an idiot, signifying -- nothing."
    • 20 Metascore
    • 38 Lawrence Toppman
    A frenzied, cacophonic cartoon.
    • 35 Metascore
    • 38 Lawrence Toppman
    Interesting and idiotic elements almost exactly balance each other.
    • 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!
    • 23 Metascore
    • 38 Lawrence Toppman
    Passed as slowly as if I'd been sitting naked on an igloo, Formula 51 sank from quirky to jerky to utter turkey.
    • 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.
    • 30 Metascore
    • 38 Lawrence Toppman
    Abbott, Petroni and director Michael Rymer do exploit the visual and aural cliches of vampire movies from the last 20 years: The creatures wear tattoos, shave their heads, listen to blistering rock and dress in black leather. For a band of societal outsiders, they're pathetically conformist.
    • 48 Metascore
    • 38 Lawrence Toppman
    Might have been funnier if it had been put together with more care.
    • 63 Metascore
    • 38 Lawrence Toppman
    Heavy-handed symbolism permeates the picture, down to the leading lady's name.
    • 56 Metascore
    • 38 Lawrence Toppman
    Cowardice and cliché - not a tasty combination.
    • 46 Metascore
    • 38 Lawrence Toppman
    If they decided not to give us Camelot, did they have to leave us with so Camelittle?
    • 49 Metascore
    • 38 Lawrence Toppman
    The opposite of memorable.
    • 30 Metascore
    • 38 Lawrence Toppman
    Sometimes seems longer than a rainy Super Bowl.
    • 47 Metascore
    • 38 Lawrence Toppman
    Man on Fire is as ludicrous as "John Q," "Virtuosity" and "Out of Time," yet substantially more violent, artificial, self-conscious and dull.
    • 43 Metascore
    • 38 Lawrence Toppman
    It's theoretically possible to make a fascinating film about a thieving, self-indulgent, freebasing, treacherous scumbag who pimps his girlfriend to a gangster and contributes nothing to society. Wonderland isn't that film.
    • 38 Metascore
    • 38 Lawrence Toppman
    Without a plausible script, crisp dialogue or rounded characters, the majority of the picture will sag gracelessly.
    • 49 Metascore
    • 38 Lawrence Toppman
    A mediocrity at any time, because of its implausible script and bland characters.
    • 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.
    • 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
    This picture has an ugly habit of humiliating Bridget, which "Diary" did not.
    • 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.
    • 42 Metascore
    • 38 Lawrence Toppman
    A Frankenstein's monster of a movie: clumsy, patched together from parts that don't align properly, desperate to be loved, destined to be chased by mobs with pitchforks - those will be the critics - until it stumbles into its grave.
    • 76 Metascore
    • 38 Lawrence Toppman
    It's ploddingly directed, indifferently acted and insufficiently frightening.
    • 27 Metascore
    • 38 Lawrence Toppman
    The filmmakers find "laughs" in sadistic violence.
    • 55 Metascore
    • 38 Lawrence Toppman
    What's the message: that women must remain vigilant about poundage to keep husbands from chasing taut-thighed secretaries? That's a charitable Christmas thought.
    • 66 Metascore
    • 38 Lawrence Toppman
    Everything about the film seems to have been done on the cheap. The music sounds like it came from a high school band.
    • 65 Metascore
    • 38 Lawrence Toppman
    Angelina Jolie is definitely worth her salt as an action hero, but Salt is never worth its Angelina Jolie.