Lawrence Toppman
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For 1,417 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 4.7 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:
1,417 movie reviews
    • 86 Metascore
    • 88 Lawrence Toppman
    Perhaps Zeitlin isn't really making an issue of class distinctions. Maybe he's just suggesting that we don't know these people very well, and our lives would be richer if we did.
    • 60 Metascore
    • 88 Lawrence Toppman
    It's an approachable film that handles a serious topic deftly and offers a fresh take on a familiar subject.
    • 66 Metascore
    • 88 Lawrence Toppman
    The simple, utterly satisfying Premium Rush delivers just what the title promises.
    • 86 Metascore
    • 88 Lawrence Toppman
    Anderson tells this story slowly, inexorably, with a sense of control I've never felt from him before. This is the least violent of his five dramas, the first where nobody dies. It's also the bleakest.
    • 79 Metascore
    • 88 Lawrence Toppman
    Rodriguez' inner peace wins us over. He seems to have enjoyed recording music, fathering kids, cleaning houses, playing sold-out gigs and simply strumming a guitar in his kitchen. Searching for Sugar Man reminds us that a wise man knows lasting riches are never the result of record sales.
    • 84 Metascore
    • 88 Lawrence Toppman
    The leads blend as seamlessly as any young-old character coupling I've seen. The prosthetically altered Gordon-Levitt, unrecognizable at first, really resembles Willis.
    • 77 Metascore
    • 88 Lawrence Toppman
    I've heard that one definition of insanity is doing the same thing over and over and expecting different results. By that standard, the U.S. "War on Drugs" seems crazy indeed in The House I Live In.
    • 81 Metascore
    • 88 Lawrence Toppman
    Best of all, we finally learn something about Bond's origins: The movie takes its title from his ancestral home in Scotland. (A nod to Connery, perhaps?)
    • 81 Metascore
    • 88 Lawrence Toppman
    These aren't people whose problems can be solved quickly or easily. They'll need medication, therapy, patience, self-awareness and willingness to compromise to conquer troubles, and Russell makes us root for them as they stumble along.
    • 79 Metascore
    • 88 Lawrence Toppman
    A character in Yann Martel's novel "Life of Pi" tells us this will be a story to make us believe in God. The film version written by David Magee and directed by Ang Lee may do that – you'll decide for yourself – but it will definitely make you believe in the power of cinema.
    • 73 Metascore
    • 88 Lawrence Toppman
    Writers Rasmus Heisterberg and Nicolaj Arcel are known in America for the original version of "The Girl With the Dragon Tattoo." This film is the exact opposite: stately instead of propulsive, emotionally warm instead of chilly, lit by candles and sun instead of flashlights and neon.
    • 73 Metascore
    • 88 Lawrence Toppman
    Yet as fine as she and Ewan McGregor are as the parents, Tom Holland stands out as eldest son Lucas, a slightly sullen teen who learns to put other people before himself.
    • 95 Metascore
    • 88 Lawrence Toppman
    Zero Dark Thirty, like the mission that inspired it, commands respect, admiration, even awe in places for the logistical nightmares that had to be overcome to get it done. But it's a hard movie to love.
    • 94 Metascore
    • 88 Lawrence Toppman
    The superb Trintignant and the Oscar-nominated Riva – who would win, in a just world – embody once-vigorous people in inevitable decline. Yet as another critic has said, the film is sad without being depressing.
    • 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.