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 The Squid and the Whale
Lowest review score: 0 Left Behind
Score distribution:
1,388 movie reviews
    • 85 Metascore
    • 75 Lawrence Toppman
    Most of the movie feels like a loose, sometimes improvised lark among friends.
    • 70 Metascore
    • 75 Lawrence Toppman
    Button has a wide-eyed innocence that almost never palls. It strays far from the mind of F. Scott Fitzgerald, but often enough it came near to my heart.
    • 77 Metascore
    • 75 Lawrence Toppman
    Characters in Breillat's movies often make sex their god, lose faith in it, then find their lives hollow and grim. Bergman wouldn't have been so concerned with bodily woes, but he'd have understood.
    • 81 Metascore
    • 75 Lawrence Toppman
    Comedy comes from an exaggeration of reality, not reality itself -- and on that score, Diablo Cody's first screenplay gets high marks.
    • 69 Metascore
    • 75 Lawrence Toppman
    It offers razor-sharp editing, first-rate performances, direction that yields maximum emotional effect and a flabby, unconvincing screenplay.
    • 63 Metascore
    • 75 Lawrence Toppman
    It's as pitiless and brutal as any of their pictures and funnier than any except "Raising Arizona."
    • 74 Metascore
    • 75 Lawrence Toppman
    The movie feels operatic at times. Tempestuous arias play on the soundtrack, and Puccini figures directly.
    • 60 Metascore
    • 75 Lawrence Toppman
    Though its grosses may not soar into the realm occupied by "Superbad" and "American Pie," it has more sympathy for its characters.
    • 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.
    • 81 Metascore
    • 75 Lawrence Toppman
    For the first time in memory, the film ends not just with the promise of more Bonds but without a firm conclusion.
    • 51 Metascore
    • 75 Lawrence Toppman
    300
    300 is a huge step forward in visually sophisticated storytelling.
    • 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.
    • 57 Metascore
    • 75 Lawrence Toppman
    The movie should come with the tag line “Don't try this at home,” because the method has near-fatal pitfalls. Yet the characters' clumsy emotional growth shows us there's hope even for a stumbling father and two sons groping toward peace.
    • 88 Metascore
    • 75 Lawrence Toppman
    Whatever you feel about Truman Capote, you won't be able to turn away from him here.
    • 67 Metascore
    • 75 Lawrence Toppman
    This combination of tightly controlled farce and gross-out comedy works unexpectedly well, until the filmmakers lose their nerve at last and settle for cozy homilies. Still, four-fifths of a rarity is about twice as much as studios deliver nowadays.
    • 33 Metascore
    • 75 Lawrence Toppman
    In its design, at least, Mindhunters"surpasses all other Christie knockoffs.
    • 54 Metascore
    • 75 Lawrence Toppman
    The casting of Daniels, Tyson and Saint, all of whom underplay effortlessly, was shrewd.
    • 63 Metascore
    • 75 Lawrence Toppman
    The movie has been shot with love and wisdom, and its implausible premise doesn't get in the way of a sweetness and honesty too rarely seen.
    • 65 Metascore
    • 75 Lawrence Toppman
    Remains gripping until the final 15 minutes, when a series of sudden, unjustified plot twists leave us shaking our heads.
    • 64 Metascore
    • 75 Lawrence Toppman
    Jim Broadbent is the wild card in the cast; he screeches and growls his way through Madame Gasket's lines in the best traditions of British drag.
    • 49 Metascore
    • 75 Lawrence Toppman
    This is his (Kutcher) most relaxed and sensitive work on film.
    • 56 Metascore
    • 75 Lawrence Toppman
    The picture's consistently entertaining and, though it has few brilliant comic peaks, it never plunges into boring valleys.
    • 61 Metascore
    • 75 Lawrence Toppman
    The unspoken heroes of the project are cinematographer Peter Biziou, who finds all the beauty in Cornwall's landscapes, and U.S. violinist Joshua Bell, who extracts beauty without schmaltz from every violin solo.
    • 45 Metascore
    • 75 Lawrence Toppman
    Ferrell's ideally suited to man-boy characters, and that's what Phil Weston is in "Kicking."
    • 48 Metascore
    • 75 Lawrence Toppman
    Its crass good humor makes it an enjoyable, reasonably faithful but over-the-top successor to the original.
    • 31 Metascore
    • 75 Lawrence Toppman
    It honors the tone of that wonderful comedy while setting it in present-day New York City.
    • 65 Metascore
    • 75 Lawrence Toppman
    One of those movies that sticks to your mind like a briar to wool slacks. It has no revelations, no high drama, no heartbreaking tragedy. What it does have is bone-deep honesty, and that's enough for once.
    • 68 Metascore
    • 75 Lawrence Toppman
    It's a satisfying experience, whatever kind of picture you label it.
    • 50 Metascore
    • 75 Lawrence Toppman
    Bay's movie couldn't be more timely; whatever you think about this subject, you might admire his attempt to come to grips with it in a summer blockbuster.
    • 46 Metascore
    • 75 Lawrence Toppman
    Reminds me of the golden retriever that lived next door long ago: endearing, consistently sweet-natured, ready for a brisk turn around familiar territory as long as no strenuous intellectual demands are ever made.