Lawrence Toppman

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For 1,584 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 3.2 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Cinderella
Lowest review score: 0 Left Behind
Score distribution:
1584 movie reviews
    • 79 Metascore
    • 88 Lawrence Toppman
    Denzel Washington directed and stars in Fences, and he has translated every element of August Wilson’s play to the screen: A language that’s naturalistic yet gently poetic, a detailed sense of America at mid-century...drama that turns to melodrama at key points, characterizations that seethe and explode, the touch of the fantastic (or is it the supernatural?) that pervades most of Wilson’s stories.
    • 63 Metascore
    • 88 Lawrence Toppman
    The final drum-off (c'mon, you knew it would come down to that) resembles a combination of music, gymnastics and martial arts, and I don't think I've seen a more pulse-pounding scene this year.
    • 73 Metascore
    • 88 Lawrence Toppman
    On the most basic level, Cars is an old-fashioned fable about an egotistical, talented loner who learns humility and redeems himself by helping unfortunates.
    • 85 Metascore
    • 88 Lawrence Toppman
    After an hour, The Pianist stops being the Holocaust movie and becomes a Holocaust movie.
    • 75 Metascore
    • 88 Lawrence Toppman
    Captain America: Civil War appeals to me more strongly than any superhero movie of the last decade.
    • 61 Metascore
    • 88 Lawrence Toppman
    It's fascinating to watch others sweat, suffer and triumph in the documentary Dust to Glory, which chronicles the longest nonstop, point-to-point race on our planet.
    • 72 Metascore
    • 88 Lawrence Toppman
    Allen, rejuvenated by foreign settings, makes us appreciate posh parts of England as he always did Manhattan. (Credit cinematographer Remi Adefarasin for showing us how seductive upper-crust London can be.)
    • 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.
    • 88 Metascore
    • 88 Lawrence Toppman
    A director needs to know how to pace the tale, where to place the camera, how to draw out a shy actor or get out of the way of a strong one. Those skills are rarer than you'd think. Sarah Polley, who never wrote or directed a feature film before Away From Her, has them all.
    • 67 Metascore
    • 88 Lawrence Toppman
    Bolt has the magical quality of great animation, the ability to touch us without the hint of preachiness or manipulation.
    • 73 Metascore
    • 88 Lawrence Toppman
    Ray
    Brilliantly embodied by Jamie Foxx in this unflinching, entertaining biography.
    • 72 Metascore
    • 88 Lawrence Toppman
    Howard has never been so grown-up in his handling of tough themes or so inventive in depicting states of mind. Goldsman has never been so down-to-earth or created so touching a character.
    • 75 Metascore
    • 88 Lawrence Toppman
    It has the charm, irony and saucy wit of the original, plus two supporting characters -- a suave, egocentric feline and a cheerfully conniving fairy godmother -- who are funnier than anyone in "Shrek."
    • 48 Metascore
    • 88 Lawrence Toppman
    By riffing off two iconic American narratives of the last 35 years, "The Godfather" and "The Sopranos," it has changed the template for animation, making a timely film that still deals with timeless children's themes.
    • 83 Metascore
    • 88 Lawrence Toppman
    Corpse Bride had me at the maggot.
    • 68 Metascore
    • 88 Lawrence Toppman
    This film reminds us you can have a miracle only when David slings a stone at Goliath, not when two Goliaths pummel each other with sticks.
    • 70 Metascore
    • 88 Lawrence Toppman
    This is the first real family comedy I've seen in a long time: one honest enough to satisfy teens, wryly funny enough for adults and zany enough for little kids.
    • 46 Metascore
    • 88 Lawrence Toppman
    A crackling rendition of Dan Brown's novel, siphoning off unneeded fat and fancy and leaving us with a streamlined train of a picture that never stops moving.
    • 82 Metascore
    • 88 Lawrence Toppman
    If you're tired of false holiday cheer, Lilya 4-Ever will provide a corrective to the spiritual eggnog force-fed to us all season. The climax takes place during Christmas, though one that would make Tiny Tim grateful for his crutch and cold chimney corner.
    • 81 Metascore
    • 88 Lawrence Toppman
    Cravalho shows spunk and a generically lovely voice, though she’s saddled with assembly-line anthems Disney has done better elsewhere. Johnson has exuberance, deft timing and a passable singing voice.
    • 73 Metascore
    • 88 Lawrence Toppman
    Yet as fine as she and Ewan McGregor are as the parents, Tom Holland stands out as eldest son Lucas, a slightly sullen teen who learns to put other people before himself.
    • 88 Metascore
    • 88 Lawrence Toppman
    The sequel is faster, funnier and wilder, with more cunningly contrived computer effects.
    • 63 Metascore
    • 88 Lawrence Toppman
    Bloom finally comes into his own as a man here, somberly thoughtful and melancholic. The elfin archer of "The Lord of the Rings" and the trivial boy-toy of "Troy" have been forgotten.
    • 40 Metascore
    • 88 Lawrence Toppman
    If you've been seduced by Andrew Lloyd Webber's stage version of "The Phantom of the Opera," you'll fall in love with the gorgeous, splendidly cast film.
    • 75 Metascore
    • 88 Lawrence Toppman
    The technical side of Baadasssss! far surpasses that of "Sweetback," and re-created scenes from the 1971 film look much better in the son's hands than they did in the father's.
    • 82 Metascore
    • 88 Lawrence Toppman
    Cedar is mostly interested in the father-son dynamics, and he cast excellent actors. Lewensohn, a famous Israeli theatrical director, makes his film acting debut, while the veteran Ashkenazi ("Late Wedding") handles his low-key role with bearlike grace.
    • 59 Metascore
    • 88 Lawrence Toppman
    His (LaBute) observation of human nature is keener than before, his dialogue more attuned to ambiguities.
    • 57 Metascore
    • 88 Lawrence Toppman
    The animals' personalities have been carefully calibrated: They have sufficient edge to amuse us as characters, yet they're cuddly enough to market as plush toys or action figures.
    • 82 Metascore
    • 88 Lawrence Toppman
    Lanthimos and Filippou have thoroughly imagined their world.
    • 56 Metascore
    • 88 Lawrence Toppman
    Most horror movies try to show us the man inside the monster, so we'll empathize with his moral dilemmas or feel his suffering. Perfume: The Story of a Murderer shows us a man who is all monster, whose colossal amorality makes him a potential Messiah or menace to humanity.

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