Lawrence Toppman

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For 1,499 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 4.2 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Wallace & Gromit: The Curse of the Were-Rabbit
Lowest review score: 0 Little Nicky
Score distribution:
1499 movie reviews
    • 81 Metascore
    • 88 Lawrence Toppman
    If Hollywood’s going to extend the most famous movie myth of the past 40 years, The Force Awakens seems a worthwhile way to do so.
    • 77 Metascore
    • 88 Lawrence Toppman
    Chi-Raq is indeed interesting, challenging, provocative and consistently entertaining in its outrageous depiction of life in modern Chicago. And nobody in mainstream filmmaking today except Spike Lee could or would have done it.
    • 83 Metascore
    • 88 Lawrence Toppman
    Deniz Gamze Ergüven, who makes her feature debut as writer-director after a couple of short films, tells the story exclusively from the girls’ point of view – both emotionally, as they have all our sympathy, and physically, as almost nothing happens that one of them could not be seeing.
    • 55 Metascore
    • 83 Lawrence Toppman
    Now comes director Baz Luhrmann, who’s incapable of taking anything literally, and what do we get? The “Gatsby” that, of three I’ve seen and two I’ve read about, seems most faithful to the spirit of Fitzgerald’s superbly sad book. His audacity pays off in a way that may not exactly reproduce the novel but continually illuminates it.
    • 76 Metascore
    • 83 Lawrence Toppman
    Career Girls is a chamber piece: intimate and direct, two voices performing monologues and duets of irony, despair and hope. [29 Aug 1997, p.11E]
    • Charlotte Observer
    • 62 Metascore
    • 83 Lawrence Toppman
    For now, the franchise has enough zip and humor to be worthwhile.
    • 66 Metascore
    • 83 Lawrence Toppman
    Whitaker’s performance reveals a man who unobtrusively changes white people around him – perhaps without trying or even knowing it – through his demeanor and ability.
    • 78 Metascore
    • 83 Lawrence Toppman
    The result is one of the most honest recent comedies about romances that flourish, marriages that totter and the difficulties of raising children with the right blend of respect, discipline and support.
    • 84 Metascore
    • 83 Lawrence Toppman
    If we admire anything about him, it’s entrepreneurship; there’s something uniquely American about a guy outrunning his own death by turning suffering into profit. And as a judge asks, why shouldn’t a dying man be allowed to try any remedy for his disease?
    • 74 Metascore
    • 83 Lawrence Toppman
    This may be yet another variation on the usual coming-of-age/sisterhood themes so familiar in Disney movies, but who does those better?
    • 56 Metascore
    • 83 Lawrence Toppman
    Once you accept that he (Neeson) has the badge and gun, you’re in for an exciting trip.
    • 88 Metascore
    • 83 Lawrence Toppman
    Anderson leavens the lunacy with a few acts of sudden and extreme violence or avert-your-face sex, which seem as extravagant as the rest of his notions. Perhaps they’re in there to change the flavor of the humor, the way Mendl might put a bitter coffee bean in a chocolate torte to keep it from cloying us.
    • 68 Metascore
    • 83 Lawrence Toppman
    Overall, Noah represents a respectful take on an old story by filmmakers who pose a pertinent question. The Creator promises never again to wipe humanity off the face of the Earth, signing that covenant with the cheering image of a rainbow. Does that mean he won’t let us wipe ourselves out millennia later, if we’re hell-bent on doing so?
    • 70 Metascore
    • 83 Lawrence Toppman
    This sequel is, by design, entirely absorbing and satisfying without being one whit memorable.
    • 61 Metascore
    • 83 Lawrence Toppman
    Like many horror directors, Flanagan felt he could build a feature-length film around his brief idea. Unlike many, he was right.
    • 78 Metascore
    • 83 Lawrence Toppman
    Virtually all science fiction functions as metaphor, and I took this film to be a metaphor for the act of becoming fully human.
    • 56 Metascore
    • 83 Lawrence Toppman
    Yet nothing in their visually stimulating film registers as strongly as Jolie’s enigmatic, ever-changing face.
    • 75 Metascore
    • 83 Lawrence Toppman
    All three leads give effective, low-key performances. (I don’t remember a single character raising a voice.) Their acting fits the tone of this movie and all the ones Reichardt directs: Her camera moves slowly, and she accumulates tension by showing detail after detail.
    • 71 Metascore
    • 83 Lawrence Toppman
    “22” merits a B grade. The long final credits, in which Dickson imagines dozens of future scenarios for the undercover boys, kicks it up one notch.
    • 55 Metascore
    • 83 Lawrence Toppman
    Is “feel-good” a bad word? Critics often think so. But when a movie explores real emotions en route to its gladdening end, when it takes time to touch on serious issues along the way, it earns the right to make us feel good.
    • 82 Metascore
    • 83 Lawrence Toppman
    The movie ends so abruptly you might wonder if a piece is missing, and it relies on one extraordinary coincidence I couldn’t swallow. Yet scene by scene, I found people I knew or wish I knew: Ben’s romantic advice to the straight but awkward Joey would give any boy confidence about himself.
    • 75 Metascore
    • 83 Lawrence Toppman
    Winterbottom has darkened the tone: The final scene takes place during a golden sunset that brings no closure to either man.
    • 72 Metascore
    • 83 Lawrence Toppman
    Eastwood has directed five war movies and acted in others, and he knows there’s no single truth to convey about combat.
    • 88 Metascore
    • 83 Lawrence Toppman
    Keaton reminds us what a fine actor he could always be.
    • 66 Metascore
    • 83 Lawrence Toppman
    Whedon has more on his mind than he did in the last one. The Avengers seem not just contentious toward each other but weary, sick of their brutal responsibilities.
    • 89 Metascore
    • 83 Lawrence Toppman
    Miller’s not interested in character development, plot twists or social commentary, with one possible exception. He wanted spectacular stunts, which he achieves with tremendous skill, and a bad-guys-vs.-less-bad-guys pursuit that goes through countless exciting permutations.
    • 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.
    • 58 Metascore
    • 75 Lawrence Toppman
    All are watchable, attractive people who haven't worn out their welcomes. But if they continue to go round and round like this, they may. Aren't more African -American actors waiting in the wings to play romantic leads?
    • 48 Metascore
    • 75 Lawrence Toppman
    Vertical Limit is like riding a roller coaster for two hours. First it's frighteningly exciting. Then it's mind-numbing
    • 72 Metascore
    • 75 Lawrence Toppman
    The Rookie is "Rudy" in a baseball uniform.

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