Lawrence Toppman

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For 1,572 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 3.4 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Coraline
Lowest review score: 0 Little Nicky
Score distribution:
1572 movie reviews
    • 80 Metascore
    • 88 Lawrence Toppman
    You may not realize the imprint it has left until its last season comes to a close.
    • 65 Metascore
    • 88 Lawrence Toppman
    Anton has a sad, gentle detachment that allows him to turn the other cheek literally through a series of slaps.
    • 56 Metascore
    • 88 Lawrence Toppman
    I have never seen elementary schoolers more passionate about education than the ones I met at a school in rural Kenya, not far from the shadow of Mount Kilimanjaro.
    • 65 Metascore
    • 88 Lawrence Toppman
    Most of the actors live their roles, and Fassbender (Rochester in the last "Jane Eyre") is superb as the wolflike, undisciplined assassin.
    • 57 Metascore
    • 88 Lawrence Toppman
    Markowitz, Daley and Goldstein sounds like a New York firm that delivers financial advice, but they're asking you to invest only $9 of your cash and 100 minutes of your time. They have written the funniest movie I've seen this year in Horrible Bosses.
    • 87 Metascore
    • 88 Lawrence Toppman
    It's tense, strangely funny in a lot of spots and – if you grew up loving old-fashioned, seat-of-the-pants baseball, as I did – the most depressing movie of the year.
    • 84 Metascore
    • 88 Lawrence Toppman
    At bottom, all Payne's films make us smile, often ruefully but hopefully.
    • 71 Metascore
    • 88 Lawrence Toppman
    This film has two of Fincher's happiest trademarks: It's full of information and stretches over a remarkably long time (165 minutes), yet it's neither confusing nor overextended.
    • 89 Metascore
    • 88 Lawrence Toppman
    Talkies may have killed silent movies, the way TV serials and soap operas wiped out radio dramas. But there are stories most effectively told in the old style, and The Artist is proof.
    • 85 Metascore
    • 88 Lawrence Toppman
    The film requires close attention, especially while it jumps back and forth in time for the first half-hour, but all the pieces lock into place tightly by the end.
    • 57 Metascore
    • 88 Lawrence Toppman
    Most movies about people passing themselves off as the opposite sex can't sustain the illusion, but "Nobbs" does.
    • 62 Metascore
    • 88 Lawrence Toppman
    In rare cases – and The Woman in Black is one of them – a story may be more atmospheric when less is left to the imagination.
    • 95 Metascore
    • 88 Lawrence Toppman
    Every time it starts to feel like something we have known, we realize how unlike us these Iranian characters are.
    • 72 Metascore
    • 88 Lawrence Toppman
    The film's main virtue, a large virtue indeed, is that it does not give anything away before its shockingly apt time.
    • 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
    The film has two active virtues, too. It shows human beings in all their pitiable, noble, stupid or sensitive modes of action, and it reminds us there's always time to fall in love, if only for a few days.
    • 66 Metascore
    • 88 Lawrence Toppman
    Did we need another Spider-Man this quickly? Debatable. But if you wanted a new interpretation – especially one where story and action stay in the right balance – this is it.
    • 86 Metascore
    • 88 Lawrence Toppman
    Perhaps Zeitlin isn't really making an issue of class distinctions. Maybe he's just suggesting that we don't know these people very well, and our lives would be richer if we did.
    • 60 Metascore
    • 88 Lawrence Toppman
    It's an approachable film that handles a serious topic deftly and offers a fresh take on a familiar subject.
    • 66 Metascore
    • 88 Lawrence Toppman
    The simple, utterly satisfying Premium Rush delivers just what the title promises.
    • 86 Metascore
    • 88 Lawrence Toppman
    Anderson tells this story slowly, inexorably, with a sense of control I've never felt from him before. This is the least violent of his five dramas, the first where nobody dies. It's also the bleakest.
    • 79 Metascore
    • 88 Lawrence Toppman
    Rodriguez' inner peace wins us over. He seems to have enjoyed recording music, fathering kids, cleaning houses, playing sold-out gigs and simply strumming a guitar in his kitchen. Searching for Sugar Man reminds us that a wise man knows lasting riches are never the result of record sales.
    • 84 Metascore
    • 88 Lawrence Toppman
    The leads blend as seamlessly as any young-old character coupling I've seen. The prosthetically altered Gordon-Levitt, unrecognizable at first, really resembles Willis.
    • 77 Metascore
    • 88 Lawrence Toppman
    I've heard that one definition of insanity is doing the same thing over and over and expecting different results. By that standard, the U.S. "War on Drugs" seems crazy indeed in The House I Live In.
    • 81 Metascore
    • 88 Lawrence Toppman
    Best of all, we finally learn something about Bond's origins: The movie takes its title from his ancestral home in Scotland. (A nod to Connery, perhaps?)
    • 81 Metascore
    • 88 Lawrence Toppman
    These aren't people whose problems can be solved quickly or easily. They'll need medication, therapy, patience, self-awareness and willingness to compromise to conquer troubles, and Russell makes us root for them as they stumble along.
    • 79 Metascore
    • 88 Lawrence Toppman
    A character in Yann Martel's novel "Life of Pi" tells us this will be a story to make us believe in God. The film version written by David Magee and directed by Ang Lee may do that – you'll decide for yourself – but it will definitely make you believe in the power of cinema.

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