For 1,388 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 4.9 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
Average review score: 64
Highest review score: 100 The Wind Rises
Lowest review score: 0 Left Behind
Score distribution:
1,388 movie reviews
    • 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.)
    • 83 Metascore
    • 88 Lawrence Toppman
    Haneke peels back the layers of Georges Laurent as slowly and dispassionately as a scientist dissecting a diseased mouse. The ending arrives with the power and inevitability of Greek drama.
    • 62 Metascore
    • 88 Lawrence Toppman
    Portman doesn't catch fire until the second half, then heaves herself into emotional action; this suits her initially passive, mostly unthinking character. Weaving, who acts entirely with his voice, is V's ideal embodiment: witty, rueful, pitiless, visionary and mad.
    • 71 Metascore
    • 88 Lawrence Toppman
    Fierce, fast and funny.
    • 58 Metascore
    • 88 Lawrence Toppman
    The film was reputedly inspired by Japanese teens who trolled chat rooms to find predators, made assignments, then ganged up to beat offending adults.
    • 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.
    • 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.
    • 73 Metascore
    • 88 Lawrence Toppman
    When I first heard about Wordplay, I assumed I wouldn't have an ort of interest.
    • 80 Metascore
    • 88 Lawrence Toppman
    The irony is, this family isn't mismatched: All six bickering characters are connected by empathy as well as blood, and we wait for them to figure that out.
    • 66 Metascore
    • 88 Lawrence Toppman
    The strong personalities of Maria Bello and Maggie Gyllenhaal, who play typical supportive wives, keep scenes from sagging.
    • 70 Metascore
    • 88 Lawrence Toppman
    Li plays haughty, brilliant wushu master Huo Yuanjia, whose recklessness leads to tragedy after he becomes a champion at the end of the 19th century.
    • 75 Metascore
    • 88 Lawrence Toppman
    Top honors go to Guinee, who steadily builds his character from tiny details, and Reaser, who's understood through eyes and attitude while speaking a hodgepodge of German, Norwegian and English.
    • 77 Metascore
    • 88 Lawrence Toppman
    An animated film that challenges preconceptions about the genre and foregoes the usual romance/adventure structure.
    • 64 Metascore
    • 88 Lawrence Toppman
    My sentimentality meter never went off, and Smith proved what people have forgotten since his breakthroughs in "Where the Day Takes You" and "Six Degrees of Separation" 13 years ago: He's a serious actor.
    • 53 Metascore
    • 88 Lawrence Toppman
    Filmmakers have presented an unvarnished drama about Marshall University and the people who love it, and the results are inspirational.
    • 84 Metascore
    • 88 Lawrence Toppman
    It depicts a world close enough to our own to be terrifying, yet different enough to rouse curiosity.
    • 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.
    • 65 Metascore
    • 88 Lawrence Toppman
    The movie is the usual kind of film biography of a respected figure from the distant past - honorable, oversimplified, handsome.
    • 78 Metascore
    • 88 Lawrence Toppman
    Anyone who enjoys the novels of Ed McBain, the Oscar-winning "All the President's Men" or any televised variation of "CSI" will be at home here.
    • 78 Metascore
    • 88 Lawrence Toppman
    Mikkelsen, like Jimmy Stewart, projects emotions with a slight twitch of a lip or narrowing of an eye. His long face - often handsome, sometimes plain, always cryptic - yields secrets slowly; you have to watch an entire film to know how his character feels and how you feel about him.
    • 70 Metascore
    • 88 Lawrence Toppman
    Until Year of the Dog, I've never seen a movie where someone obsessed over a puppy.
    • 34 Metascore
    • 88 Lawrence Toppman
    Beach blends all the performing styles smoothly: LL's blithe coolness, Blalock's sultry ambiguity, Liotta's slow-boiling intensity, Ejiofor's dapper amiability, Phifer's brooding intensity.
    • 81 Metascore
    • 88 Lawrence Toppman
    If you see Hot Fuzz, you'll never again watch a Michael Bay film without howling with disrespectful laughter.
    • 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.
    • 69 Metascore
    • 88 Lawrence Toppman
    No matter what character Don Cheadle has played in his 23-year career, he's always seemed to be holding something back...Until Talk to Me.
    • 81 Metascore
    • 88 Lawrence Toppman
    The film's an irresistible time capsule of that Camelot summer, blending girrrrrl power, social consciousness and faux-'60s pop with the fizz of a soda jerk whipping up a root beer float.
    • 80 Metascore
    • 88 Lawrence Toppman
    The result is two-tiered humor, broad enough to appeal to anybody but overlaid with jokes that will be funnier if you know the show.
    • 73 Metascore
    • 88 Lawrence Toppman
    Penn, one of Hollywood's most famous iconoclasts, must have felt instinctive sympathy with someone who told the whole world in general to leave him alone.
    • 82 Metascore
    • 88 Lawrence Toppman
    Careful casting adds to verisimilitude. Nobody carries off a chilly authority figure like Tilda Swinton, who represents the chemical company; Pollack, who has more or less stopped directing, now embodies urbane amorality as an actor; Wilkinson, whose career has mostly been devoted to repressed or depressed characters, enjoys his turn as a bright-eyed fanatic.
    • 72 Metascore
    • 88 Lawrence Toppman
    Gone Baby Gone would be an accomplishment with anyone at the helm; from a first-timer, it's a revelation.