Lawrence Toppman

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For 1,534 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 3.9 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Good Night, and Good Luck.
Lowest review score: 0 Waist Deep
Score distribution:
1534 movie reviews
    • 36 Metascore
    • 50 Lawrence Toppman
    Arnold Schwarzenegger, move over: Your dramatic replacement has arrived.
    • 61 Metascore
    • 50 Lawrence Toppman
    A slow, grim, atmospheric but virtually plotless look at a blank-faced loner who is obsessed with his work, has no friends except for one woman inexplicably attached to him, and ends up making those around him miserable.
    • 56 Metascore
    • 50 Lawrence Toppman
    Damon, trapped in an inert character, shows little inner turmoil.
    • 55 Metascore
    • 50 Lawrence Toppman
    Gyllenhaal and Hathaway exert considerable powers of hangdog charm and fierce independence, trying to give firm shape to the saggy script. But if you want to watch these two struggle through an up-and-down screen relationship, rent "Brokeback Mountain."
    • 49 Metascore
    • 50 Lawrence Toppman
    A movie's in trouble when neither the hero nor the villain has charisma, and Clu is a dull dog.
    • 69 Metascore
    • 50 Lawrence Toppman
    A well-intentioned but obvious, often clumsy picture.
    • 67 Metascore
    • 50 Lawrence Toppman
    The filmmakers try to make us sympathize with Barney by surrounding him with even more annoying types.
    • 60 Metascore
    • 50 Lawrence Toppman
    So despite fine acting and swift pacing and well-managed effects, it falls apart.
    • 37 Metascore
    • 50 Lawrence Toppman
    The biggest irony of this project is that it was made by a company that calls itself Original Film but has produced perhaps the least original movie of the year so far.
    • 45 Metascore
    • 50 Lawrence Toppman
    This installment, which is subtitled "Give Us Your Money, Sheep," really isn't a Pirates of the Caribbean movie at all.
    • 41 Metascore
    • 50 Lawrence Toppman
    Inside this film, a poignant and personal story is struggling to get out. But it's couched in such awkward sentiments that it can't emerge.
    • 68 Metascore
    • 50 Lawrence Toppman
    His (Spielberg) The Adventures of Tintin jettisons character, back story, plot, depth and emotional ties to deliver 100 minutes of beautifully shot mayhem. It's handsome, hectic, heartless and hollow, a shiny Christmas box with nothing but glitter inside.
    • 52 Metascore
    • 50 Lawrence Toppman
    Crash. Kick. Stab. Punch. Talk (briefly). Smash. Chase. Screech. Shoot. Mumble. That's the wearying pattern of Safe House. Had "think" been an action verb, the movie might have risen above the knee-jerk excitement of the second-tier, "Bourne"-style spy thriller. But it never does.
    • 68 Metascore
    • 50 Lawrence Toppman
    Critics starved for thoughtful movies will often mistake the will for the deed. A serious film about an important subject seems like an important film, even if the effort falls far short of the target. So it is with We Need to Talk About Kevin.
    • 46 Metascore
    • 50 Lawrence Toppman
    It's hampered further by a piece of star miscasting unmatched in recent memory: Julia Roberts' archly evil queen remains as jaw-droppingly dull as her costumes are jaw-droppingly gaudy.
    • 55 Metascore
    • 50 Lawrence Toppman
    So Depp summons every type of behavior Burton requires: heroism, zaniness, longing, wit, ferocity, sexuality, icy resolve. Had they stuck to one or two of these, we might have had a terrific film.
    • 65 Metascore
    • 50 Lawrence Toppman
    It's clumsy revisionism. As storytelling, its simplistic characters and ludicrous situations would embarrass a ninth-grader shooting a short film on a digital phone. Not one of its alleged revelations has the power to surprise.
    • 43 Metascore
    • 50 Lawrence Toppman
    I rarely pinpoint the exact moment when a promising action movie turns into a pulpy, asinine mess, but I can do that with Total Recall.
    • 55 Metascore
    • 50 Lawrence Toppman
    A tale that ought to dispel the clouds of mystery surrounding life gathers them into impenetrable fog.
    • 63 Metascore
    • 50 Lawrence Toppman
    The arc of the 800-page novel, crammed into 130 minutes, becomes a line as flat as the heart monitor of a dead patient. A story that ought to possess the mad grandeur of an opera acquires the tedious regularity of soap opera.
    • 54 Metascore
    • 50 Lawrence Toppman
    Oscar-winners Morgan Freeman and Melissa Leo turn up in cameo roles anyone could have played. Kosinski was smart to limit their screen time, because it’s awkward to have actors with weight and charisma hanging around those who lack both.
    • 33 Metascore
    • 50 Lawrence Toppman
    M. Night Shyamalan has directed movies that are surprising, hokey, suspenseful, sentimental, clever, touching or cheesy. But until After Earth, he hadn’t made any that are dull from end to end.
    • 64 Metascore
    • 50 Lawrence Toppman
    All performances remain irrelevant in the face of such expensive, explosive combat and destruction, and there the film excels: You will feel blown back into your seat, starting 40 seconds into the story.
    • 39 Metascore
    • 50 Lawrence Toppman
    Elementary school-age boys may well be delighted, but it offers not a scintilla of stimulation for anyone else.
    • 31 Metascore
    • 50 Lawrence Toppman
    That’s the problem with Winter’s Tale, which tries to cram too many conflicting stories into one space and ends up defying us to believe any. Call it magic unrealism, a well-intentioned but clunky genre.
    • 59 Metascore
    • 50 Lawrence Toppman
    We don’t see his alcoholism and post-traumatic stress disorder after coming home, the decay of his marriage, the vengeful hatred that led him to strangle his captors in his nightmares. Nor do we see his conversion to Christianity after a 1949 Billy Graham crusade in Los Angeles, an event he credited with saving his sanity, marriage and perhaps his life.
    • 79 Metascore
    • 50 Lawrence Toppman
    The story’s unbelievable, end to end.
    • 78 Metascore
    • 50 Lawrence Toppman
    Everything about this film, from the title to the metaphors, remains cloudy. And you can watch clouds only so long before you realize they don’t have any weight at all.
    • 59 Metascore
    • 50 Lawrence Toppman
    The team of four writers supplies one surprise, and you’ll wait 90 minutes to see it. Before and afterward, stereotypical genre characters get trotted out.
    • 56 Metascore
    • 50 Lawrence Toppman
    Once The Quest begins, the movie collapses. The ending turns coincidental, preachy and stupid.

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