Lawrence Toppman
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For 1,418 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 4.6 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 Little Nicky
Score distribution:
1,418 movie reviews
    • 78 Metascore
    • 38 Lawrence Toppman
    Punch-Drunk Love buries a terrific performance by Adam Sandler under a heap of faux cleverness, meaningless symbolism and irritating mannerisms.
    • 77 Metascore
    • 25 Lawrence Toppman
    A three-hour-and-10-minute exercise in slight characterization, pointlessly showy editing and vapid plotting.
    • 77 Metascore
    • 38 Lawrence Toppman
    Writer Guillermo Arriaga earns most of the blame. He played similar games with narrative in the vastly better "Amores Perros" and "21 Grams," jumping back and forth in time to show relationships among subplots and characters. But "Burials" barely has one plot.
    • 76 Metascore
    • 38 Lawrence Toppman
    It's ploddingly directed, indifferently acted and insufficiently frightening.
    • 75 Metascore
    • 25 Lawrence Toppman
    Here’s something I never expected to say, something I doubt I’d have believed if someone else had said it to me: Martin Scorsese can make a three-hour movie without one fresh perspective or compelling character from end to end. The proof, for three agonizing hours, can be found in The Wolf of Wall Street.
    • 74 Metascore
    • 25 Lawrence Toppman
    Everything here has been done better in other books, other movies. The lone remarkable thing is the level of violence, which exposes the cowardice and hypocrisy of the Motion Picture Association of America's ratings system.
    • 71 Metascore
    • 38 Lawrence Toppman
    The storytelling is inept and illogical.
    • 70 Metascore
    • 38 Lawrence Toppman
    Hamlet has audacity, intelligence, a provocative visual and musical style, virtually no poetry, a garbled story line weakened by savage cutting of the play, and a great yawning hole where a Hamlet ought to be.
    • 70 Metascore
    • 38 Lawrence Toppman
    Allen's laziness is startling, even in so mechanical a filmmaker. He uses a monotonous narrator to tell us what the characters think and do, though he then shows them performing the actions that have just been described.
    • 69 Metascore
    • 12 Lawrence Toppman
    Whenever the music subsides and the characters speak the Coens' lines, the film turns back into mush.
    • 69 Metascore
    • 38 Lawrence Toppman
    The problem isn't that Tarantino's in love with death; it's that he's deadly dull. Even "Natural Born Killers" made a stab at social commentary and satire of America?s celebrity-mad media. Kill Bill merely giggles through gore and asks you to smile at its style.
    • 68 Metascore
    • 38 Lawrence Toppman
    It's "Braveheart" without historical significance and "Passion" without spirituality, though it dabbles in both, and it represents as brazen an act of career suicide as I can recall from a star director. If he were a first-timer, he'd never work again.
    • 68 Metascore
    • 38 Lawrence Toppman
    It's a disconnected, implausible story that aims for a tone of magic realism and falls short on both counts.
    • 68 Metascore
    • 25 Lawrence Toppman
    It's as French as a half-smoked Gauloise and, like a half-smoked Gauloise, it stinks.
    • 67 Metascore
    • 25 Lawrence Toppman
    Spike Lee's films have been provocative, blunt, thoughtful, misguided, daring, sentimental, funny, honest and silly. But 25th Hour earns the director two new adjectives: irrelevant and tedious.
    • 66 Metascore
    • 38 Lawrence Toppman
    The picture brims over with ideas - good ones, silly ones, maudlin ones, witty ones, absurd ones - and they bump up against each other like ingredients in a vast stewpot that never comes to a continuous boil.
    • Charlotte Observer
    • 66 Metascore
    • 38 Lawrence Toppman
    Everything about the film seems to have been done on the cheap. The music sounds like it came from a high school band.
    • 65 Metascore
    • 38 Lawrence Toppman
    Solaris is a film where people...often...speak... like... this, and the camera moves slowly across sterile interiors.
    • 65 Metascore
    • 38 Lawrence Toppman
    I hope his life was less dull than the movie he's made from it.
    • 65 Metascore
    • 38 Lawrence Toppman
    If you really must see Miami Vice (and you mustn't), buy a ticket to something better, then slip into "Vice" at the 95-minute mark and watch the last third of the movie. No one involved will profit by your curiosity, and you won't miss a thing of importance.
    • 65 Metascore
    • 38 Lawrence Toppman
    Writer-director Coppola and her production team have gotten the look of the late 18th century right...But they've gotten almost everything else wrong.
    • 65 Metascore
    • 38 Lawrence Toppman
    Angelina Jolie is definitely worth her salt as an action hero, but Salt is never worth its Angelina Jolie.
    • 65 Metascore
    • 25 Lawrence Toppman
    "I didn't write this." In heaven, Graham Greene is mumbling those same words over and over right now.
    • 65 Metascore
    • 38 Lawrence Toppman
    The year's least necessary and most unimaginative remake slogs half-heartedly to its pre-destined conclusion without making a ripple.
    • 65 Metascore
    • 38 Lawrence Toppman
    Movies can certainly be worse than bad sitcoms, and this is one of them.
    • 64 Metascore
    • 38 Lawrence Toppman
    The outcome is alternately unsatisfying, meaningless, contradictory and laughable.
    • 64 Metascore
    • 38 Lawrence Toppman
    Ambiguity can enrich a movie, but artists abdicate their responsibilities if they don't take a stance of any kind.
    • 64 Metascore
    • 38 Lawrence Toppman
    No movie this year will better embody Macbeth's description of life itself: "a tale ... full of sound and fury, signifying nothing."
    • 63 Metascore
    • 38 Lawrence Toppman
    Heavy-handed symbolism permeates the picture, down to the leading lady's name.
    • 63 Metascore
    • 38 Lawrence Toppman
    The film is a saggy, oddly mean-spirited takeoff of "Walk the Line."

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