Lawrence Toppman
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For 1,445 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 4.4 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Squid and the Whale
Lowest review score: 0 Left Behind
Score distribution:
1,445 movie reviews
    • 36 Metascore
    • 38 Lawrence Toppman
    What starts as a cute premise crashes faster than a skateboard with an oak branch shoved between its wheels.
    • 36 Metascore
    • 38 Lawrence Toppman
    Puts more miles on plot that was worn out long ago.
    • 45 Metascore
    • 38 Lawrence Toppman
    The "Puppetoonish" characters in Hoodwinked didn't bother me: They're primitive and inexpressive, but their personalities come through. In fact, the problem is that their personalities do come through: They're all wackily sarcastic, unfunny nonentities.
    • 37 Metascore
    • 38 Lawrence Toppman
    The outtakes prove Analyze That could have been even worse.
    • 33 Metascore
    • 38 Lawrence Toppman
    As in most cheap futuristic movies, everything is dark or illuminated by a drab bluish glow. The buildings look grubbily similar to each other, so every location has to be identified onscreen. Of course, that saves the audience the trouble of paying attention.
    • 48 Metascore
    • 38 Lawrence Toppman
    This movie is made by and for people who don't care about good storytelling.
    • 64 Metascore
    • 38 Lawrence Toppman
    Ambiguity can enrich a movie, but artists abdicate their responsibilities if they don't take a stance of any kind.
    • 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."
    • 70 Metascore
    • 38 Lawrence Toppman
    Allen's laziness is startling, even in so mechanical a filmmaker. He uses a monotonous narrator to tell us what the characters think and do, though he then shows them performing the actions that have just been described.
    • 40 Metascore
    • 38 Lawrence Toppman
    It begins as energetic, clichéd nonsense and ends as irritating, clichéd nonsense.
    • 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.
    • 58 Metascore
    • 38 Lawrence Toppman
    Solace is especially frustrating when it moves down interesting paths, then stops.
    • 41 Metascore
    • 38 Lawrence Toppman
    It took four years to come up with this? Someone needed that long to assemble this patchy, recycled collection of gags about stinky butts, superfreaks, finger-wide blunts and racial cliches?
    • 53 Metascore
    • 38 Lawrence Toppman
    It's marginally possible that Nancy Drew is spoofing high school adventure movies, and I almost hope so. Otherwise, it's unwatchable on every level.
    • 31 Metascore
    • 38 Lawrence Toppman
    The best way to sit through Max Payne is by using minimal brain.
    • 46 Metascore
    • 38 Lawrence Toppman
    If they decided not to give us Camelot, did they have to leave us with so Camelittle?
    • 47 Metascore
    • 38 Lawrence Toppman
    Ridley Scott and Russell Crowe attempt light romantic comedy in A Good Year, and the results are as grindingly discordant as a punk band writing a suite of waltzes.
    • 48 Metascore
    • 38 Lawrence Toppman
    Flat as a Moravian cookie, flat as a sailor's wallet after a month in port, flat as the average European's impression of the Earth in A.D. 800.
    • 57 Metascore
    • 38 Lawrence Toppman
    I once said I'd watch Chiwetel Ejiofor act in any piece of disposable fluff, and now I have.
    • 65 Metascore
    • 38 Lawrence Toppman
    Movies can certainly be worse than bad sitcoms, and this is one of them.
    • 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.
    • 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.
    • 53 Metascore
    • 38 Lawrence Toppman
    As a film, it's flabby and utterly predictable.
    • 37 Metascore
    • 38 Lawrence Toppman
    Speed Racer is chaotic as a six-ring circus, gaudy as a transvestites convention and soullessly cute as a robot puppy.
    • 43 Metascore
    • 38 Lawrence Toppman
    As lame as a three-legged mule.
    • 46 Metascore
    • 38 Lawrence Toppman
    As a vegetarian, I'm grateful that Around the Bend -- an extended commercial for KFC passing itself off as a heartwarming family drama -- is a loser.
    • 36 Metascore
    • 38 Lawrence Toppman
    This isn't nitpicking. Every bit of the tale is as full of holes as a wool sweater at a moth convention, and Shyamalan telegraphs each potential surprise.
    • 47 Metascore
    • 38 Lawrence Toppman
    When Elle Woods watches "Mr. Smith Goes to Washington" for inspiration in the middle of Legally Blonde 2, you have to admire the nerve of the people who made this comedy: "Smith" is to LB2 what jumbo jets are to ultralight gliders. But nerve is all they've got.
    • 54 Metascore
    • 38 Lawrence Toppman
    Rarely connects with reality.

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