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 3.1 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Turtles Can Fly
Lowest review score: 0 Little Nicky
Score distribution:
1584 movie reviews
    • 85 Metascore
    • 75 Lawrence Toppman
    For once, I didn't feel cheated by an unresolved ending, but let's hope this is the end. Robert Ludlum wrote three Bourne novels, and this is one series that ought not to be dishonored by inferior sequels.
    • 85 Metascore
    • 88 Lawrence Toppman
    After an hour, The Pianist stops being the Holocaust movie and becomes a Holocaust movie.
    • 85 Metascore
    • 91 Lawrence Toppman
    Moore makes no attempt at visual reality. The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.
    • 85 Metascore
    • 83 Lawrence Toppman
    Amy
    Had Amy Winehouse not been a briefly famous musician – had she been an architect or a teacher or even a woman who mopped floors – the documentary Amy might have been nearly as compelling.
    • 85 Metascore
    • 88 Lawrence Toppman
    The Tony-winning Bosco, one of the great stage actors of the last 50 years, does a lot with a little in his restricted role; he's haughty, almost dignified by his angry silence. Linney and Hoffman stay pitch-perfect in their noisy desperation and sullen withdrawal.
    • 85 Metascore
    • 75 Lawrence Toppman
    Most of the movie feels like a loose, sometimes improvised lark among friends.
    • 85 Metascore
    • 100 Lawrence Toppman
    One of the most heartbreaking, unforgettable dramas in years.
    • 85 Metascore
    • 50 Lawrence Toppman
    Scorsese in his prime might've made better use of this hamming, but this picture feels like an exercise by a Scorsese clone who has tackled the master's themes - without his energy and economy of style.
    • 85 Metascore
    • 100 Lawrence Toppman
    This meditation on spirituality, loneliness and accountability could touch your heart's core.
    • 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.
    • 85 Metascore
    • 75 Lawrence Toppman
    The movie is not credible, even in an inner-city setting. At the same time, it's touching.
    • 85 Metascore
    • 100 Lawrence Toppman
    A dark comedy that's as emotionally honest as any picture of 2002.
    • 85 Metascore
    • 100 Lawrence Toppman
    Breathtaking masterpiece.
    • 85 Metascore
    • 91 Lawrence Toppman
    The film could hardly be less American in tone: It has no villains. It provides complete and comfortable closure for none of its relationships.
    • 85 Metascore
    • 88 Lawrence Toppman
    Keeps its sense of humor while dealing with serious issues.
    • 85 Metascore
    • 100 Lawrence Toppman
    The result is a film that has "Masterpiece Theatre" production values but not an ounce of dust upon it.
    • 85 Metascore
    • 63 Lawrence Toppman
    Like all his movies except "Badlands," a taut 1973 debut, "Tree" looks gorgeous, has philosophic ambitions, meanders wherever Malick's imagination takes him and stays dramatically inert.
    • 85 Metascore
    • 75 Lawrence Toppman
    I never thought I'd crack up watching a family mourn the death of a beloved daughter. But I've never seen a film quite like The Host, and that's far from the most bizarre thing in it.
    • 85 Metascore
    • 88 Lawrence Toppman
    It gives such a down-to-Earth view of the joys, terrors, boredom, anxieties and camaraderie in a war zone.
    • 85 Metascore
    • 75 Lawrence Toppman
    A Kafkaesque series of interwoven stories that depict the hopeless lives half the populace there (Iran) must lead.
    • 84 Metascore
    • 88 Lawrence Toppman
    It depicts a world close enough to our own to be terrifying, yet different enough to rouse curiosity.
    • 84 Metascore
    • 88 Lawrence Toppman
    Whatever you think of gay people (or politicians), you may find the movie compelling viewing.
    • 84 Metascore
    • 75 Lawrence Toppman
    A handsome tribute to an era as quaintly distant as tail-fin Chevrolets and A-bomb scares.
    • 84 Metascore
    • 88 Lawrence Toppman
    Begins and ends quietly, like stirrings of thunder from a distant storm. In between comes a tragedy that rolls over us like a compact hurricane.
    • 84 Metascore
    • 75 Lawrence Toppman
    A wild, self-indulgent but completely captivating extravagance.
    • 84 Metascore
    • 75 Lawrence Toppman
    The grandest presence here is Eastwood. His directing, like his acting, is minimal: unhurried, spare, unforced, rather somber.
    • 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.
    • 84 Metascore
    • 88 Lawrence Toppman
    It's possible to groan, chuckle, wince and be moist-eyed, sometimes in a span of seven or eight minutes.
    • 84 Metascore
    • 75 Lawrence Toppman
    As usual, Almodovar finds unusual camera angles to break up the straightforward storytelling. But for the first time I recall, not a single male character is crucial to his story, and no actor has a leading role. You won't miss them.
    • 84 Metascore
    • 88 Lawrence Toppman
    At bottom, all Payne's films make us smile, often ruefully but hopefully.

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