Lawrence Toppman
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For 1,435 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 Ratatouille
Lowest review score: 0 Waist Deep
Score distribution:
1,435 movie reviews
    • 79 Metascore
    • 91 Lawrence Toppman
    Director Matt Reeves, working from a script by Rick Jaffa, Amanda Silver and Mark Bomback, elevates the apes to primary importance in this intelligent thriller.
    • 85 Metascore
    • 91 Lawrence Toppman
    Moore makes no attempt at visual reality. The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.
    • 89 Metascore
    • 91 Lawrence Toppman
    The Dardennes know how to tell low-key stories effectively, and Cotillard’s Academy Award-nominated performance builds toward the unexpected ending.
    • 81 Metascore
    • 91 Lawrence Toppman
    Nobody fires a shot. Nobody topples a kingdom. But as Ivan Locke’s life unravels behind the wheel of his car, which he drives almost from the first frame to the last, we can’t look away.
    • 71 Metascore
    • 91 Lawrence Toppman
    The most important thing, though, is that we come away feeling we know him. He died on Christmas Day eight years ago, and people listening to samples of his music in rap and hip-hop may have no idea why he mattered. Now they’ll see.
    • 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.
    • 61 Metascore
    • 91 Lawrence Toppman
    It’s the rare animated film that might amuse adults and kids while slipping a useful message to the latter.
    • 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.
    • 94 Metascore
    • 91 Lawrence Toppman
    Relaxed editing and well-researched set and costumes give us a firm feeling of the period, and Dick Pope (who has worked with Leigh 10 times) excels. It’s a cliche to say a cinematographer does painterly work, but Pope suffuses the screen with light in the way Turner did his canvases.
    • 79 Metascore
    • 91 Lawrence Toppman
    Gone Girl offers interesting, even amusing audio cues: the sound of a distant mourning dove when we suspect Amy’s been killed, or Blue Oyster Cult’s “Don’t Fear the Reaper” playing on a car radio as Nick returns his obnoxious father to an assisted care center.
    • 69 Metascore
    • 91 Lawrence Toppman
    The Fault in Our Stars beautifully captures the hesitancy, shyness masked by outward confidence, feelings of unworthiness and quiet intensity of teenagers in love.
    • 80 Metascore
    • 88 Lawrence Toppman
    The result is two-tiered humor, broad enough to appeal to anybody but overlaid with jokes that will be funnier if you know the show.
    • 86 Metascore
    • 88 Lawrence Toppman
    He's (Soderbergh) among the few directors working today who makes me wonder what he'll do next - and draws me into the movie house, whatever it may be.
    • 77 Metascore
    • 88 Lawrence Toppman
    An animated film that challenges preconceptions about the genre and foregoes the usual romance/adventure structure.
    • 84 Metascore
    • 88 Lawrence Toppman
    Begins and ends quietly, like stirrings of thunder from a distant storm. In between comes a tragedy that rolls over us like a compact hurricane.
    • 79 Metascore
    • 88 Lawrence Toppman
    Control Room ends by acknowledging that independence, accuracy and even truth itself may be illusory.
    • 90 Metascore
    • 88 Lawrence Toppman
    It's among the most inventive, screwily funny and consistently surprising movies I've seen in years.
    • 81 Metascore
    • 88 Lawrence Toppman
    If you see Hot Fuzz, you'll never again watch a Michael Bay film without howling with disrespectful laughter.
    • 69 Metascore
    • 88 Lawrence Toppman
    Few white directors depict racial interaction in a thoughtful, non-exploitative way, but Sayles has always been one of them.
    • 63 Metascore
    • 88 Lawrence Toppman
    The final drum-off (c'mon, you knew it would come down to that) resembles a combination of music, gymnastics and martial arts, and I don't think I've seen a more pulse-pounding scene this year.
    • 73 Metascore
    • 88 Lawrence Toppman
    On the most basic level, Cars is an old-fashioned fable about an egotistical, talented loner who learns humility and redeems himself by helping unfortunates.
    • 85 Metascore
    • 88 Lawrence Toppman
    After an hour, The Pianist stops being the Holocaust movie and becomes a Holocaust movie.
    • 61 Metascore
    • 88 Lawrence Toppman
    It's fascinating to watch others sweat, suffer and triumph in the documentary Dust to Glory, which chronicles the longest nonstop, point-to-point race on our planet.
    • 72 Metascore
    • 88 Lawrence Toppman
    Allen, rejuvenated by foreign settings, makes us appreciate posh parts of England as he always did Manhattan. (Credit cinematographer Remi Adefarasin for showing us how seductive upper-crust London can be.)
    • 68 Metascore
    • 88 Lawrence Toppman
    Shows the fate of Sicilians who moved to the Italian industrial city of Turin 40-plus years ago, and it suggests that the experience of relocation is universal.
    • 88 Metascore
    • 88 Lawrence Toppman
    A director needs to know how to pace the tale, where to place the camera, how to draw out a shy actor or get out of the way of a strong one. Those skills are rarer than you'd think. Sarah Polley, who never wrote or directed a feature film before Away From Her, has them all.
    • 67 Metascore
    • 88 Lawrence Toppman
    Bolt has the magical quality of great animation, the ability to touch us without the hint of preachiness or manipulation.
    • 73 Metascore
    • 88 Lawrence Toppman
    Ray
    Brilliantly embodied by Jamie Foxx in this unflinching, entertaining biography.
    • 72 Metascore
    • 88 Lawrence Toppman
    Howard has never been so grown-up in his handling of tough themes or so inventive in depicting states of mind. Goldsman has never been so down-to-earth or created so touching a character.
    • 75 Metascore
    • 88 Lawrence Toppman
    It has the charm, irony and saucy wit of the original, plus two supporting characters -- a suave, egocentric feline and a cheerfully conniving fairy godmother -- who are funnier than anyone in "Shrek."

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