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 Prisoner of Paradise
Lowest review score: 0 Waist Deep
Score distribution:
1,434 movie reviews
    • 85 Metascore
    • 91 Lawrence Toppman
    The film could hardly be less American in tone: It has no villains. It provides complete and comfortable closure for none of its relationships.
    • 81 Metascore
    • 91 Lawrence Toppman
    Nobody fires a shot. Nobody topples a kingdom. But as Ivan Locke’s life unravels behind the wheel of his car, which he drives almost from the first frame to the last, we can’t look away.
    • 74 Metascore
    • 91 Lawrence Toppman
    Once every couple of years, a movie comes along to remind us how satisfyingly complex the genre can be. Christopher Nolan’s reimagining of the “Batman” saga did that masterfully. On a slightly less ambitious scale, so does X-Men: Days of Future Past.
    • 69 Metascore
    • 91 Lawrence Toppman
    The Fault in Our Stars beautifully captures the hesitancy, shyness masked by outward confidence, feelings of unworthiness and quiet intensity of teenagers in love.
    • 79 Metascore
    • 91 Lawrence Toppman
    Director Matt Reeves, working from a script by Rick Jaffa, Amanda Silver and Mark Bomback, elevates the apes to primary importance in this intelligent thriller.
    • 71 Metascore
    • 91 Lawrence Toppman
    The most important thing, though, is that we come away feeling we know him. He died on Christmas Day eight years ago, and people listening to samples of his music in rap and hip-hop may have no idea why he mattered. Now they’ll see.
    • 61 Metascore
    • 91 Lawrence Toppman
    It’s the rare animated film that might amuse adults and kids while slipping a useful message to the latter.
    • 79 Metascore
    • 91 Lawrence Toppman
    Gone Girl offers interesting, even amusing audio cues: the sound of a distant mourning dove when we suspect Amy’s been killed, or Blue Oyster Cult’s “Don’t Fear the Reaper” playing on a car radio as Nick returns his obnoxious father to an assisted care center.
    • 85 Metascore
    • 91 Lawrence Toppman
    Moore makes no attempt at visual reality. The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.
    • 89 Metascore
    • 91 Lawrence Toppman
    The Dardennes know how to tell low-key stories effectively, and Cotillard’s Academy Award-nominated performance builds toward the unexpected ending.
    • 94 Metascore
    • 91 Lawrence Toppman
    Relaxed editing and well-researched set and costumes give us a firm feeling of the period, and Dick Pope (who has worked with Leigh 10 times) excels. It’s a cliche to say a cinematographer does painterly work, but Pope suffuses the screen with light in the way Turner did his canvases.
    • 71 Metascore
    • 88 Lawrence Toppman
    Why on earth didn't Warner Bros. release this movie in time for Oscar consideration? Sure, it's bleak, depressing, sometimes painful to watch. But it would have been one of the best pictures of the year, and Nicholson (who hasn't done work of this caliber since "The Crossing Guard") might have been on the podium again.
    • 70 Metascore
    • 88 Lawrence Toppman
    The effect is as potent as a straight right to the solar plexus.
    • 69 Metascore
    • 88 Lawrence Toppman
    Few white directors depict racial interaction in a thoughtful, non-exploitative way, but Sayles has always been one of them.
    • 81 Metascore
    • 88 Lawrence Toppman
    (The Coens have) never again achieved the one-two punch of Blood Simple and "Raising Arizona" - the first darkly cynical, the second light-headedly comical.
    • 71 Metascore
    • 88 Lawrence Toppman
    A love story more involved than I can easily explain.
    • 61 Metascore
    • 88 Lawrence Toppman
    Picks up steam from the ominous opening scene and ends as a quietly suspenseful thriller.
    • 75 Metascore
    • 88 Lawrence Toppman
    To adapt it for a 130-minute movie, Irving ruthlessly cut away subplots, eliminated supporting characters and pared down the traits of the ones that remain.
    • 74 Metascore
    • 88 Lawrence Toppman
    Best of all, Billy (Jamie Bell) is that rarity in a film distributed by Hollywood: a real boy, confused at 11 about almost everything.
    • 61 Metascore
    • 88 Lawrence Toppman
    Charming Stuart Little improves on original tale.
    • 75 Metascore
    • 88 Lawrence Toppman
    The coolest film in town offers industrial espionage, power struggles, thwarted romance, betrayal and suspense - and best of all, it's true.
    • 92 Metascore
    • 88 Lawrence Toppman
    Yi Yi is an intimate movie, for all its length and complexity.
    • 50 Metascore
    • 88 Lawrence Toppman
    A taut, consistently surprising political thriller with a sting in its tail.
    • Charlotte Observer
    • 61 Metascore
    • 88 Lawrence Toppman
    Can be unbearably moving or annoyingly mawkish, sometimes in the same scene.
    • 75 Metascore
    • 88 Lawrence Toppman
    Hank Greenberg was to Jews what Jackie Robinson was to African Americans: a great athlete, handsome and hard-working, who took the first line of abuse from bigots and proved that his people belonged at the highest level of professional sports.
    • 79 Metascore
    • 88 Lawrence Toppman
    The director lingers over images, watching builders at work or Baran at her chores; the camera often seems to daydream, like Lateef. No grand climax caps the film, but the small incidents have a cumulative effect.
    • 68 Metascore
    • 88 Lawrence Toppman
    Shows the fate of Sicilians who moved to the Italian industrial city of Turin 40-plus years ago, and it suggests that the experience of relocation is universal.
    • 75 Metascore
    • 88 Lawrence Toppman
    A horror film that doesn't wear out a moment of its welcome.
    • Charlotte Observer
    • 91 Metascore
    • 88 Lawrence Toppman
    If you're put off by deliberate filmmaking (or subtitles, though the movie doesn't have much dialogue), you're in the wrong spot. If not, you'll see why voters gave "Atanarjuat," as it's officially called, a 2002 Oscar nomination for best foreign film.
    • 78 Metascore
    • 88 Lawrence Toppman
    Director Stephen Frears...drops down to the underclass in "DPT," examining the ways in which educated illegals fight off despair, poverty and extradition.

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