Lawrence Toppman
Select another critic »
For 1,442 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 4.5 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Touching the Void
Lowest review score: 0 Left Behind
Score distribution:
1,442 movie reviews
    • 56 Metascore
    • 83 Lawrence Toppman
    Yet nothing in their visually stimulating film registers as strongly as Jolie’s enigmatic, ever-changing face.
    • 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.
    • 88 Metascore
    • 83 Lawrence Toppman
    Keaton reminds us what a fine actor he could always be.
    • 70 Metascore
    • 83 Lawrence Toppman
    This sequel is, by design, entirely absorbing and satisfying without being one whit memorable.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 83 Lawrence Toppman
    For now, the franchise has enough zip and humor to be worthwhile.
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 75 Lawrence Toppman
    I spent The Kids are All Right wondering whether director Lisa Cholodenko was affectionate toward her self-absorbed characters or gently mocking them. In the end, I thought she was both and liked the film more.
    • 72 Metascore
    • 75 Lawrence Toppman
    Writer-director Caroline Link (who did the Oscar-nominated "Beyond Silence") adapted Stefanie Zweig's expatriate memoir gracefully, languidly and with full understanding of its heroine.
    • 72 Metascore
    • 75 Lawrence Toppman
    Super 8 takes its place among the best B-grade science fiction movies of this generation by copying the best of the past 50 years.
    • 92 Metascore
    • 75 Lawrence Toppman
    It’s the first Pixar effort that feels less like a creative outpouring and more like an obligation met to satisfy a distribution schedule.
    • 76 Metascore
    • 75 Lawrence Toppman
    The movie seemed a disappointment at first, until I decided I was missing the point: It’s actually a drama about the way people treat a celebrity – with fear or reverence, as a source of income or reflected glory– and the way their own personalities change around him, while his stays the same. In that way, the film’s a small triumph.
    • 65 Metascore
    • 75 Lawrence Toppman
    Madden has the wisdom to give most of the heavy emotional lifting to Mirren, who continues to shine at the age of 66.
    • 44 Metascore
    • 75 Lawrence Toppman
    Reflective, deliberate, building gradually to a climax that left me touched.
    • 74 Metascore
    • 75 Lawrence Toppman
    Roger Deakins, probably the best living cinematographer never to win an Oscar (he’s 0-for-10), was behind the camera. So the picture never lets us down visually, even when the story occasionally strays.
    • 74 Metascore
    • 75 Lawrence Toppman
    Like "Shattered Glass," the other picture Billy Ray directed, Breach probes a guilty mind and reveals how he baffled people. We get a Hitchcock-like pleasure from knowing the protagonist is guilty and watching other shocked characters realize his wickedness.
    • 47 Metascore
    • 75 Lawrence Toppman
    The film seems like a loose and uncredited updating of "The Great Man Votes," a more serious 1939 entry.
    • 67 Metascore
    • 75 Lawrence Toppman
    Zach Braff, who shot the film near his hometown of South Orange, N.J., directed this drama with subtle flair and wrote a star part that perfectly fit his acting range.
    • 72 Metascore
    • 75 Lawrence Toppman
    Try as he might, (Hanks) is miscast in Road to Perdition, a partly satisfying gangster drama that amounts to less than the sum of its handsome parts.
    • 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.
    • 78 Metascore
    • 75 Lawrence Toppman
    It never commits the sin of sentimentalizing old age, as Hollywood usually does when it deigns to admit that people over 55 exist.
    • 82 Metascore
    • 75 Lawrence Toppman
    If you used this guy's umbilical cord for fishing line, you could land a world-record marlin.
    • 89 Metascore
    • 75 Lawrence Toppman
    Cohen and his gang are smart enough to know when to quit. Like a loud but amusing guest at a dinner party, Borat collects his coat and goes home just as his hosts are starting to fidget.

Top Trailers