Lisa Alspector
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For 529 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Lisa Alspector's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Tarzan
Lowest review score: 0 Whatever It Takes
Score distribution:
529 movie reviews
    • 60 Metascore
    • 40 Lisa Alspector
    Director Ron Howard makes too much of camera and editing tricks, as if momentarily confusing us about where a character is or which character's point of view the movie is taking will somehow deepen the narrative.
    • 31 Metascore
    • 30 Lisa Alspector
    Their splashy gore is more convincing than this incompetent horror-comedy's attempt to mock bourgeois high school dissoluteness without appearing judgmental.
    • 56 Metascore
    • 30 Lisa Alspector
    This movie's story must have been computer generated along with its animation.
    • 24 Metascore
    • 30 Lisa Alspector
    It's almost always night and almost always raining.
    • 31 Metascore
    • 30 Lisa Alspector
    The message must have got lost somewhere in the plot twists of this would-be topical thriller about the power of hearsay on a college campus.
    • 22 Metascore
    • 30 Lisa Alspector
    The majesty of the landscape and the sweetness of a plot strand about the horse learning survival skills from a 12-year-old girl might have been more intriguing without the cloying voice-over.
    • 48 Metascore
    • 30 Lisa Alspector
    This ambiguously pitched comedy--its idea of sexy humor is a cheerleader farting--shoots for camp without bothering with satire.
    • 52 Metascore
    • 30 Lisa Alspector
    By the time the manic camera slows down to reveal the back stories of the characters, everyone's motives are either moot or redundant.
    • 23 Metascore
    • 30 Lisa Alspector
    Exploits all the cliches about shrewish women and pussy-whipped men without achieving satire.
    • 35 Metascore
    • 30 Lisa Alspector
    Intriguing but poorly executed ideas are the basis of this not entirely unappealing romantic comedy.
    • 37 Metascore
    • 30 Lisa Alspector
    Slow, arty thriller.
    • 31 Metascore
    • 30 Lisa Alspector
    Viewers have almost two hours to become thoroughly disgusted.
    • 49 Metascore
    • 30 Lisa Alspector
    The end justifies the means as long as everything turns out OK for the not-too-obedient American soldier and everyone else who enjoys Coca-Cola.
    • 47 Metascore
    • 30 Lisa Alspector
    Would have proved the point if it weren't so mechanically scripted.
    • 40 Metascore
    • 30 Lisa Alspector
    In this inept thriller...the script is a coloring book, and the director's careful to stay within the lines.
    • 39 Metascore
    • 30 Lisa Alspector
    Two generic ideas amount to nothing in this theatrical dark comedy about violence and information overload.
    • 40 Metascore
    • 30 Lisa Alspector
    In nearly every scene of her dangerously underwritten role, Diaz has a mouthful of cliches.
    • 46 Metascore
    • 30 Lisa Alspector
    The story, which is even dumber than it sounds, is told in flashback.
    • 61 Metascore
    • 30 Lisa Alspector
    Boring, irksome family movie.
    • 27 Metascore
    • 30 Lisa Alspector
    The movie's repeated attempts to combine seriousness and humor as in a blender give it a dysfunctionally earnest tone.
    • 69 Metascore
    • 30 Lisa Alspector
    The plot is largely a series of excuses for one-liners expertly delivered by Maguire, making all the hatred, maiming, and killing seem like digressions.
    • 62 Metascore
    • 30 Lisa Alspector
    Smug, uninsightful light drama.
    • 56 Metascore
    • 30 Lisa Alspector
    Conveys little sense of a connection, as if di Florio had made it mainly because she had access to a celebrity.
    • 33 Metascore
    • 30 Lisa Alspector
    Ultimately the movie is alluring and respectful--its sadness may be what saves it from becoming sensationalist or trite.
    • 61 Metascore
    • 30 Lisa Alspector
    Makes for a tiresome antidrama populated mainly by unambiguously good characters who might as well be invulnerable.
    • 33 Metascore
    • 30 Lisa Alspector
    Steve Martin and Goldie Hawn are too good for this embarrassing remake.
    • 54 Metascore
    • 30 Lisa Alspector
    If misery were inherently interesting, this adaptation starring Emily Watson and Robert Carlyle as a couple plagued by alcoholism and child mortality might be too.
    • 57 Metascore
    • 30 Lisa Alspector
    Unlike Michael Jordan, this 45-minute large-format movie demonstrates mostly unrealized potential.
    • 24 Metascore
    • 30 Lisa Alspector
    Initially tolerable but increasingly stupid thriller.
    • 49 Metascore
    • 30 Lisa Alspector
    A kind of idealist fantasy that seems almost hamstrung by its plot.
    • 42 Metascore
    • 30 Lisa Alspector
    Contrasting the erotic with the disgusting is usually provocative and can be funny, but not in this underdog comedy.
    • 57 Metascore
    • 30 Lisa Alspector
    Cathartically disgusting adventure movie.
    • 29 Metascore
    • 30 Lisa Alspector
    People frequently cover the camera lens with their hands or refer to the "documentary" being filmed, as if to assure us that what we're seeing is real.
    • 30 Metascore
    • 30 Lisa Alspector
    After loosening us up with some irresistible shtick that rigorously fulfills genre expectations, the movie subtly, systematically begins to break down familiar tropes in the depiction of attractiveness, attraction, and heterosexual courtship.
    • 63 Metascore
    • 30 Lisa Alspector
    Fast-paced editing doesn't compensate for unconvincing dialogue.
    • 43 Metascore
    • 30 Lisa Alspector
    The kind of ugly-duckling role that's long been ironic for her (Bullock).
    • 70 Metascore
    • 30 Lisa Alspector
    A blandly twisting plot with no meaningful revelations or substantial themes.
    • 57 Metascore
    • 30 Lisa Alspector
    Even the most shocking elements of the story are made bland by childish overkill.
    • 39 Metascore
    • 30 Lisa Alspector
    This comedy-thriller that has no particular motive for changing tones.
    • 49 Metascore
    • 30 Lisa Alspector
    The thin story covering her acquisition of one wave after another while narrowly escaping death time and again is strictly for player one.
    • 51 Metascore
    • 30 Lisa Alspector
    This kind of wheel spinning comes from having the desire to speak but nothing much to say, and Smith, who's made a slight movie about his being a slight filmmaker, seems to know this.
    • 28 Metascore
    • 30 Lisa Alspector
    It’s a heart-tugging scenario undermined by a striking hypocrisy: obscuring a hot-button issue in casting, some actors with Down's syndrome have minor roles, while Penn plays the lead -- and chews the scenery.
    • 44 Metascore
    • 30 Lisa Alspector
    This terrible live-action comedy based on Jay Ward cartoons has its moments and its near misses.
    • 27 Metascore
    • 30 Lisa Alspector
    More of the abundant sight gags and slips of the tongue originate in bathrooms and bedrooms than are actually set there.
    • 24 Metascore
    • 30 Lisa Alspector
    Must have been slapped together fast: live-action stunts created by uninspired editing lead up to computer-generated imagery that's just as lame.
    • 55 Metascore
    • 30 Lisa Alspector
    Ritchie may be skilled at generating controlled chaos, but his surprise-a-minute strategy ultimately holds no surprises; Snatch is even more frenetically boring than his 1999 "Lock, Stock and Two Smoking Barrels."
    • 52 Metascore
    • 30 Lisa Alspector
    Trite transformation comedy.
    • 29 Metascore
    • 30 Lisa Alspector
    The movie occasionally makes an unexpectereference -- though with more desperation than wit.
    • 41 Metascore
    • 30 Lisa Alspector
    This Farrelly brothers "hommage" replicates the mechanics of their work without echoing its spirit or complex tone, and many of the deliberate offenses fail to transcend mere exploitation.
    • 59 Metascore
    • 30 Lisa Alspector
    A story that holds little suspense; we know exactly how happily this animated musical will end--and the wait isn't very diverting.
    • 31 Metascore
    • 30 Lisa Alspector
    As the characters behave with symbolic excess in situations designed to provoke their bigotry and self-interest, superficial black comedy periodically gives way to painful drama.
    • 52 Metascore
    • 30 Lisa Alspector
    Writer Kevin Williamson, who's also responsible for the overrated "Scream," sets cleverness above emotional impact in a poorly conceived 1997 thriller with plenty of empty references.
    • 48 Metascore
    • 30 Lisa Alspector
    If DiCillo had been going anywhere with this, I'd have gladly followed. But setting up petty ironies and pathetic references to Woody Allen seems to be his only goal.
    • 43 Metascore
    • 30 Lisa Alspector
    The premise of this neither dark nor funny movie--which wants to be both--is that it's somehow ironic when wealthy characters are motivated by greed.
    • 49 Metascore
    • 30 Lisa Alspector
    The story--written by Brian Helgeland and directed by Richard Donner--was just dumb.
    • 64 Metascore
    • 30 Lisa Alspector
    The moody images and Michael Nyman's score aren't enough to salvage this banal 1997 science fiction story.
    • 57 Metascore
    • 30 Lisa Alspector
    Tedious mockumentary.
    • 35 Metascore
    • 30 Lisa Alspector
    Director Bruce Beresford -- not intending to be funny but succeeding wildly.
    • 49 Metascore
    • 30 Lisa Alspector
    Too much plot and too much faith in special effects and adolescent humor doom this "Babe" wannabe.
    • 56 Metascore
    • 30 Lisa Alspector
    Writer Barry McEvoy and director Barry Levinson might want to brush up on the use of metaphor.
    • 52 Metascore
    • 30 Lisa Alspector
    Even the revelation of what the fifth element is at the end is disingenuous--in fact, the archness of this whole project is repellent.
    • 43 Metascore
    • 30 Lisa Alspector
    The fundamental problems with David Cronenberg's disastrous 1993 adaptation, written by Hwang himself, are twofold: the unsuitability of such a premise for film, where the actors and audience no longer share the same space, and the miscasting of Jeremy Irons as the accountant and John Lone as the diva.
    • 48 Metascore
    • 20 Lisa Alspector
    This asthma-inducing adventure set on K2 starts out seeming as if its corny storytelling and phony-looking settings were designed to show that it's as much about genre-movie conventions as anything else.
    • 30 Metascore
    • 20 Lisa Alspector
    Stylish but insubstantial thriller .
    • 40 Metascore
    • 20 Lisa Alspector
    The writers must have racked their brains for the formula: two parts other movies to one part childhood revenge fantasies
    • 19 Metascore
    • 20 Lisa Alspector
    This mildly moody SF thriller belabors standard dramatic conceits involving jealousy and sexual betrayal.
    • 35 Metascore
    • 20 Lisa Alspector
    Its ponderous explanations about why there are vampires in Arizona in the new millennium (blah, blah, blah).
    • 35 Metascore
    • 20 Lisa Alspector
    The elaborate climax set in a Paris bakery is the least boring part of this trained-animal movie.
    • 33 Metascore
    • 20 Lisa Alspector
    Ludicrous revenge thriller.
    • 10 Metascore
    • 20 Lisa Alspector
    This gross sex farce actually has a point, though about half the population won't like what it is.
    • 33 Metascore
    • 20 Lisa Alspector
    Not particularly sensitive or funny comedy-drama.
    • 35 Metascore
    • 20 Lisa Alspector
    The story is painfully slow.
    • 51 Metascore
    • 20 Lisa Alspector
    The most subtly revolting aspect of the movie is how it manages to exploit violence for cheap thrills, in part by equating submission with love.
    • 38 Metascore
    • 20 Lisa Alspector
    Wastes most of its 110 minutes making impotent jokes about male sexual behavior and the repugnance of old women.
    • 38 Metascore
    • 20 Lisa Alspector
    Full of meaningless tragedies left unjustified by the absurdly optimistic ending .. (an) intolerable story.
    • 29 Metascore
    • 20 Lisa Alspector
    The characters seem both reduced and idealized, and the plot has turns a dispassionate dramatist would avoid.
    • 16 Metascore
    • 20 Lisa Alspector
    Doesn't do much with its pseudosavvy characters.
    • 32 Metascore
    • 20 Lisa Alspector
    The labored storytelling in this movie about displaced ambition diminishes the impact of the powerful performances.
    • 25 Metascore
    • 20 Lisa Alspector
    Poorly paced action comedy.
    • 34 Metascore
    • 20 Lisa Alspector
    This grasping comedy targets kids of all ages but will please no one as it exploits exhausted ideas about adolescence.
    • 42 Metascore
    • 20 Lisa Alspector
    This multigenre parody is excruciatingly slow and unamusing; a go-go dancer in the opening and closing credits does as much in a few minutes to shake up our perspective on a bygone aesthetic as the entire narrative in between.
    • tbd Metascore
    • 20 Lisa Alspector
    Ill conceived or badly handled.
    • 27 Metascore
    • 20 Lisa Alspector
    The filmmakers uphold an unfortunate tradition in movies based on TV shows by busily adding superfluous plot elements.
    • 34 Metascore
    • 20 Lisa Alspector
    Nearly toothless 1998 existential drama.
    • 12 Metascore
    • 20 Lisa Alspector
    The grasping novelty of the visuals doesn't rival the uncharismatic leads or the hopelessly, unironically banal plot.
    • 23 Metascore
    • 20 Lisa Alspector
    This gross-out action comedy gets good mileage from its high-energy music and World Championship Wrestling characters, and leads David Arquette and Scott Caan are expertly pathetic.
    • 7 Metascore
    • 20 Lisa Alspector
    First-time directors Scott Alexander and Larry Karaszewski must have written the script for this comedy when they were about 12--and not changed a word.
    • 19 Metascore
    • 20 Lisa Alspector
    Until the diverting special effects take center stage, this story, about an alien intelligence that builds an army out of flesh and metal, pathetically exploits genre conventions without generating self-reference, camp, or thrills.
    • 44 Metascore
    • 20 Lisa Alspector
    Failed romantic comedy.
    • 36 Metascore
    • 20 Lisa Alspector
    Writer-director Peter Greenaway never uses narrative lightly...references to the act of filmmaking exhaust their impact pretty quickly.
    • 9 Metascore
    • 20 Lisa Alspector
    Seems like a miscalculation on multiple levels.
    • 42 Metascore
    • 20 Lisa Alspector
    Wasn't worth Allen's time and isn't worth yours.
    • 61 Metascore
    • 20 Lisa Alspector
    Isn't absurd enough to be funny.
    • 21 Metascore
    • 20 Lisa Alspector
    Excruciatingly earnest yet convictionless movie.
    • 66 Metascore
    • 20 Lisa Alspector
    One reason this production-design vehicle is so incredibly boring is that the characters keep having to explain the plot to one another.
    • 32 Metascore
    • 20 Lisa Alspector
    Jamal (Martin Lawrence), starts trying to make the best of a bad situation, which becomes our job too.
    • 21 Metascore
    • 20 Lisa Alspector
    Awful light drama.
    • 24 Metascore
    • 20 Lisa Alspector
    The inevitable isn't worth the wait.
    • 19 Metascore
    • 20 Lisa Alspector
    Schmaltzy comedy.
    • 22 Metascore
    • 20 Lisa Alspector
    As if to justify a serious discussion of this comedy before dissing it, some reviewers have pointed out that it evokes Casablanca. Maybe that's why the plot seems imposed on the characters.