Lawrence Toppman

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For 1,461 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 4.2 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Spectacular Now
Lowest review score: 0 Left Behind
Score distribution:
1,461 movie reviews
    • 67 Metascore
    • 25 Lawrence Toppman
    Spike Lee's films have been provocative, blunt, thoughtful, misguided, daring, sentimental, funny, honest and silly. But 25th Hour earns the director two new adjectives: irrelevant and tedious.
    • 27 Metascore
    • 25 Lawrence Toppman
    I think this camp classic is an accident along the lines of "Showgirls": howlingly funny, filled with gratingly earnest performances, riddled with dialogue that will be quoted at parties.
    • 24 Metascore
    • 25 Lawrence Toppman
    A painful bore.
    • 41 Metascore
    • 25 Lawrence Toppman
    Weak, obligatory stabs at humor make it more generic than it might've been.
    • 50 Metascore
    • 25 Lawrence Toppman
    And what of Roger Avary, the writer who shared the Academy Award for writing with Tarantino? He continues to plummet toward oblivion with The Rules of Attraction, which ranks with the Great Pyramid of Khufu as a monument to self-indulgence.
    • 47 Metascore
    • 25 Lawrence Toppman
    Bertino directs at a funereal pace. Speedman remains comatose, though Tyler flickers fitfully to life. The mournful look on her face suggests she's remembering the days when she was given more psychologically complex scripts, such as "Armageddon."
    • 52 Metascore
    • 16 Lawrence Toppman
    To call the film “unwatchable” is to unfairly insult Josée Deshaies; his lush cinematography delights the eye when the camera roams around Saint Laurent’s workrooms. But “incomprehensible,” “interminable” and “immaterial” all apply.
    • 38 Metascore
    • 12 Lawrence Toppman
    It's an uncoordinated, flailing hodgepodge of music videos, chases, crashes and moronic plot twists.
    • 26 Metascore
    • 12 Lawrence Toppman
    This script by the husband-and-wife team of Leora Barish and Henry Bean is hopelessly contrived and takes forever to get to the point. (I warn you: The film does not absolutely identify the killer.)
    • 33 Metascore
    • 12 Lawrence Toppman
    I do have one overpowering Y2K fear: that Hollywood will keep belching out movies as excruciatingly dull, brutal, mindless and overlong as End of Days.
    • 22 Metascore
    • 12 Lawrence Toppman
    Just when the story reaches its idiotic nadir, Neil (Diamond) shows up to save the day with a song and a smile.
    • Charlotte Observer
    • 36 Metascore
    • 12 Lawrence Toppman
    The worst horror sequel of this or many another summer.
    • 9 Metascore
    • 12 Lawrence Toppman
    It's bombastic, chaotic, plodding, visually dreary and patchily written.
    • 19 Metascore
    • 12 Lawrence Toppman
    Zomboid, convoluted excuse for a thriller is among year's worst.
    • 69 Metascore
    • 12 Lawrence Toppman
    Whenever the music subsides and the characters speak the Coens' lines, the film turns back into mush.
    • 32 Metascore
    • 12 Lawrence Toppman
    About 45 minutes into Swordfish, the picture degenerates permanently from drivel to sleaze (only a short drop).
    • 38 Metascore
    • 12 Lawrence Toppman
    The most catastrophic misfire in a dreadful movie season.
    • 37 Metascore
    • 0 Lawrence Toppman
    Director Vondie Curtis-Hall has managed to top (or should I say "bottom"?) his last theatrical release, Mariah Carey's "Glitter," with a movie that offers not one praiseworthy moment: not a scene, not a performance, not a technical achievement, not even a line of dialogue.
    • 38 Metascore
    • 0 Lawrence Toppman
    Bad actors, bad music and bad plot make it a hellish bummer.
    • 22 Metascore
    • 0 Lawrence Toppman
    It's well-shot and well-edited by Hollywood standards, though special effects don't reach the top Hollywood level. The stars have their hearts in their work: Cameron and Johnson don't have great depth but give their all. Currie makes a subtle villain.

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