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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Waist Deep
Score distribution:
1,388 movie reviews
    • 85 Metascore
    • 100 Lawrence Toppman
    A dark comedy that's as emotionally honest as any picture of 2002.
    • 80 Metascore
    • 100 Lawrence Toppman
    Pearce, who's in every scene except the Sammy flashbacks, dominates the picture through his feral performance.
    • 86 Metascore
    • 100 Lawrence Toppman
    The most atmospheric thing in the movie is Farnsworth's face.
    • 85 Metascore
    • 100 Lawrence Toppman
    This meditation on spirituality, loneliness and accountability could touch your heart's core.
    • 82 Metascore
    • 100 Lawrence Toppman
    Warms the heart while chilling the bones.
    • 94 Metascore
    • 100 Lawrence Toppman
    Yet its visual surrealism, identity-bending and strong social/ecological message make it as much an allegory as a fable.
    • 90 Metascore
    • 100 Lawrence Toppman
    Pixar's employees, masters of computer-generated animation, capture the look of the ocean like no artists before.
    • 63 Metascore
    • 100 Lawrence Toppman
    What surprises us most is the picture's topicality, and not just because terrorists crashed a plane into the Pentagon three years ago.
    • 84 Metascore
    • 100 Lawrence Toppman
    Breathtaking masterpiece.
    • 79 Metascore
    • 100 Lawrence Toppman
    One of the most uncompromisingly bleak films I've ever seen.
    • 82 Metascore
    • 100 Lawrence Toppman
    The usually quiet Zellweger is the revelation: Like her character, the actress seems happily amazed to find herself crossing a polished dance floor, sheathed in silk and diamonds, having the naughty, self-glorifying time of her life.
    • 92 Metascore
    • 100 Lawrence Toppman
    Jackson surpasses the expectations anyone might have had for him with The Fellowship of the Ring, the first installment of his trilogy devoted to J.R.R. Tolkien's masterwork.
    • 81 Metascore
    • 100 Lawrence Toppman
    To call it a masterpiece is premature: That's a title to be earned only in retrospect. But I've seen it twice now and can't imagine what I would change. It fits together tightly as a suspenseful puzzle, yet it's also emotionally rewarding and sardonically funny.
    • 95 Metascore
    • 100 Lawrence Toppman
    David Fincher obsesses about obsessive people.
    • 87 Metascore
    • 100 Lawrence Toppman
    Writer Steve Kloves, who adapted all of J.K. Rowling's novels except "Order of the Phoenix" over the last 11 years, neither wastes a word nor leaves out any essentials.
    • 86 Metascore
    • 100 Lawrence Toppman
    I can't recall the last film that so wholly, honestly and movingly explained what it means to be a Christian.
    • 72 Metascore
    • 100 Lawrence Toppman
    It's freakishly funny, suddenly tender, gleefully macabre, genuinely scary, and full of a moral – fear turns weak people into bullies – which is dosed out so gently that it never tastes like medicine.
    • 96 Metascore
    • 100 Lawrence Toppman
    You can’t exactly call Alfonso Cuarón’s Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3-D effects, heroes-in-jeopardy storytelling and emotional depth.
    • 86 Metascore
    • 100 Lawrence Toppman
    Among many things that make the taut thriller Argo remarkable is this one: It depicts a 1980 rescue of American hostages from Iran yet begins by pointing out that the United States was partly responsible for the situation.
    • 97 Metascore
    • 100 Lawrence Toppman
    Most nations, ours included, still tolerate some form of slavery or indentured servitude. And 12 Years shows the cruelty of denying not only someone’s freedom but his identity. Take away the essence of a human being – whether he’s in fetters or not – and you destroy him.
    • 83 Metascore
    • 100 Lawrence Toppman
    Most documentaries put us inside people's heads. The dazzling, experimental Pina puts us inside people's feet.
    • 83 Metascore
    • 100 Lawrence Toppman
    As we bounce over rough seas on the Maersk, we know just what will be lost if the Somalis don’t keep their trembling fingers off their triggers. As the title suggests, this is not a movie about an incident: It’s a movie about a man who stays very real to us.
    • 86 Metascore
    • 100 Lawrence Toppman
    Spielberg has never made a more sophisticated and less sentimental picture. He and writer Tony Kushner craft it like a historical thriller.
    • 82 Metascore
    • 100 Lawrence Toppman
    Has an honesty few movies seek or achieve these days.
    • 90 Metascore
    • 100 Lawrence Toppman
    Her
    Phoenix gives a performance as convincing as he did in “The Master,” and in exactly the opposite direction: gentle, meditative and cerebral, instead of angry, closed-minded and baffled.
    • 83 Metascore
    • 100 Lawrence Toppman
    The film is visually sumptuous, morally ambiguous, dramatic and dreamlike, with a narrative as engrossing as any live-action movie of 2013. It’s easy to follow yet hard to shake.
    • 50 Metascore
    • 91 Lawrence Toppman
    Now You See Me can’t quite claim to be the ideal crime drama – that would be “The Usual Suspects,” which justly won an Oscar for its script – but it’s only one level down.
    • 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.
    • 81 Metascore
    • 88 Lawrence Toppman
    South African director Neill Blomkamp set and shot the film around his native Johannesburg, so parallels to apartheid leap to mind. Yet the script he wrote with Terri Tatchell applies to any culture that bluntly excludes another.
    • 73 Metascore
    • 88 Lawrence Toppman
    Two things keep the film off Disney's top shelf. First, Naveen is a dull hero; his good-natured vanity isn't engaging until late in the story. Second, Newman's songs are less bland than usual but no more memorable.