Lawrence Toppman

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For 1,586 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 2.5 points higher than other critics. (0-100 point scale)

Lawrence Toppman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Sideways
Lowest review score: 0 Waist Deep
Score distribution:
1586 movie reviews
    • 64 Metascore
    • 75 Lawrence Toppman
    Don Cheadle dominates Miles Ahead.
    • 59 Metascore
    • 75 Lawrence Toppman
    Elvis & Nixon offers an entertaining meditation on the how and the why leading up to this famously strange photo.
    • 76 Metascore
    • 75 Lawrence Toppman
    t’s possible to laugh at Marguerite and with her at the same time. Cover your ears at key moments, and you may even fall in love with her.
    • 77 Metascore
    • 88 Lawrence Toppman
    The well-composed movie directed by Jon Favreau and written by Justin Marks takes us beyond the 1967 cartoon and, in some ways, beyond Kipling.
    • 49 Metascore
    • 50 Lawrence Toppman
    Demolition is a rarity: A film with a profound emotional truth at its heart that lies to us, scene by scene, from start to finish.
    • 47 Metascore
    • 75 Lawrence Toppman
    The British actor, best known as Loki in the “Thor” and “Avengers” series, disappears into the character’s skinny body and twangy voice.
    • 73 Metascore
    • 100 Lawrence Toppman
    In a world full of recyclable superheroes and mindless “empowerment” comedies, we’re finally getting a movie about reality. We’re surrounded by surveillance and the threat of violence, and this film asks us to judge the proper balance between liberty and security – and the amount of collateral damage acceptable to maintain the latter.
    • 44 Metascore
    • 50 Lawrence Toppman
    I recommend “Batman v. Superman” to anyone who thought director Zack Snyder showed too much restraint in “300,” who felt “Man of Steel” whisked by too briefly or who wondered how Ben Affleck could be made to seem one of America’s most animated actors while clenching his jaw as tight as a Christmas nutcracker.
    • 44 Metascore
    • 50 Lawrence Toppman
    The Bronze is one of those faux-naughty comedies that simply doesn’t have the courage of its lack of convictions.
    • 63 Metascore
    • 50 Lawrence Toppman
    The reason to see the movie is Field.
    • 76 Metascore
    • 75 Lawrence Toppman
    It’s like an amusement park ride that drags inexplicably for the last hundred feet – but until then, it’s a joltingly fine journey.
    • 28 Metascore
    • 25 Lawrence Toppman
    No characterization. A plot you could write on a single sheet of toilet paper. Sadistic violence we’re meant to cheer. A surprise that wouldn’t fool anyone who left the theater after the opening credits and came back for the last 10 minutes.
    • 83 Metascore
    • 75 Lawrence Toppman
    The Witch is a horrifying film, one unique in my experience.
    • 70 Metascore
    • 75 Lawrence Toppman
    If you want a glimpse of a damaged mind and a thorough look at an artist’s healthier psyche, you’ll be satisfied.
    • 55 Metascore
    • 75 Lawrence Toppman
    The movie has four significant virtues, principally its cast.
    • 54 Metascore
    • 75 Lawrence Toppman
    [A] warmhearted, conventional and irresistible dramedy.
    • 89 Metascore
    • 88 Lawrence Toppman
    Hungarian writer-director László Nemes makes an extraordinary feature-length debut with this film, which requires us to put together bits of information and leaves us guessing at a few missing pieces.
    • tbd Metascore
    • 75 Lawrence Toppman
    As you get into the flow of the narrative, and the strangeness of hearing no dialogue recedes, the movie becomes a rewarding experience.
    • 65 Metascore
    • 88 Lawrence Toppman
    It’s impossible to envision a sequel with pleasure – this kind of lightning wouldn’t strike twice – but the first one could hardly be improved.
    • 72 Metascore
    • 50 Lawrence Toppman
    The Coen brothers’ new movie, set in Hollywood in 1951, brings easy laughs but dissipates from memory moments later, like the cheesy films to which it pays homage – or, perhaps, mocks.
    • 94 Metascore
    • 75 Lawrence Toppman
    Rampling carries the film, appearing in virtually every scene.
    • 58 Metascore
    • 75 Lawrence Toppman
    From the first gentle meeting of its hero and heroine to the last line of dialogue, The Finest Hours executes all the traditional moves beautifully.
    • 88 Metascore
    • 50 Lawrence Toppman
    Unlike David Foster Wallace in “End of the Tour,” a masterful look at depression, Stone’s just a self-centered, unaware bore. He doesn’t merit attention from the kindly, cheerful, anxious Lisa – or from us.
    • 62 Metascore
    • 75 Lawrence Toppman
    The movie holds no clear answers. Every time you think you know where it’s going, it veers. And at the end, I’m pretty sure even Tommie and Lamb – who alternately thinks he’s enriching her life or ruining it – don’t quite know what they’ve been through. But the journey seems to have been worthwhile for them and us.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Lawrence Toppman
    The conversion to 3-D has left the movie looking grim and dim. Almost every scene, whether indoors by candlelight or upon the open ocean, seems awkwardly dark; competent 3-D effects don’t compensate for this distraction. Equally drab are the performances, except for Gleeson and Whishaw.
    • 76 Metascore
    • 50 Lawrence Toppman
    However good DiCaprio may be, everything else feels overblown.
    • 64 Metascore
    • 38 Lawrence Toppman
    For all the talk about passion, the main feeling Youth conveys is self-pity.
    • 56 Metascore
    • 50 Lawrence Toppman
    Joy
    The 25-year-old Lawrence is too young – Mangano was 35 when the mop took off – but compelling to watch. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lie back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown. That’s too much to ask.

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