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 8.3 points lower than other critics. (0-100 point scale)

Lisa Alspector's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Chuck & Buck
Lowest review score: 0 Jawbreaker
Score distribution:
529 movie reviews
    • 71 Metascore
    • 60 Lisa Alspector
    Though it strives for broad humor, pushing cuteness and light irony, this bland 1998 movie isn't exactly a comedy.
    • 74 Metascore
    • 60 Lisa Alspector
    A realist mode that strains credibility; it's tenuous and inflexible -- and easily ruptured by the contrived irony in Jimmy McGovern's screenplay.
    • 16 Metascore
    • 60 Lisa Alspector
    I kind of liked this slow, stoner comedy.
    • 48 Metascore
    • 60 Lisa Alspector
    Though there's a crime to be solved, a romance to go awry, and lots of trooper-police politics to elaborate on, the strangely drawn out pacing somehow feels fresh rather than oppressive.
    • 35 Metascore
    • 60 Lisa Alspector
    This realist fairy tale of impossible love has a fair amount of nuance and charm.
    • 47 Metascore
    • 60 Lisa Alspector
    This special-effects animal-action comedy is for heavily identified pet owners.
    • 60 Metascore
    • 60 Lisa Alspector
    The contrast between Tucker's motormouth and Chan's man of few words should be funnier, but the plot -- which is cliched without quite becoming self-reflexive -- and the uneven pace dampen most of their moments.
    • 36 Metascore
    • 60 Lisa Alspector
    Beautifully regenerates the Jay Ward TV show its characters were based on.
    • 52 Metascore
    • 60 Lisa Alspector
    Visually imaginative and even persuasively spiritual.
    • 73 Metascore
    • 60 Lisa Alspector
    Inspired, self-referential animated musical.
    • 48 Metascore
    • 60 Lisa Alspector
    It's all very impressive without being particularly enthralling.
    • 32 Metascore
    • 60 Lisa Alspector
    Though it isn't so much funny as clever, the parody will hopefully discourage some aspiring teen-movie makers from doing the same old thing.
    • 42 Metascore
    • 60 Lisa Alspector
    Isn't terribly frightening or gory, and at times it's even atmospheric. It also has a sense of humor, and the digs at the prequels hit pay dirt.
    • 74 Metascore
    • 60 Lisa Alspector
    The payoff matters at least as much as the setup, and this story's secret is way too easy to guess.
    • 37 Metascore
    • 60 Lisa Alspector
    Danny Glover and Mel Gibson make a gently contrasted (and nicely self-reflexive) odd couple in this action-comedy sequel.
    • 63 Metascore
    • 60 Lisa Alspector
    The precredits sequence is exciting--it's the only part of the movie that even begins to use the idea of the vulnerability of a horror-movie audience reflexively. The rest of the story is a straightforward narrative that's threatening only to the ingenues in the cast.
    • 43 Metascore
    • 60 Lisa Alspector
    A businessman is visited by an otherworldly presence who has the nerve to fall in love with his daughter in this savory, extralong feature, whose obvious plotlines unfold with an almost painful slowness that somehow makes them deeper.
    • 42 Metascore
    • 60 Lisa Alspector
    Despite the practical nature of the costars' bond, I spent most of the lukewarm actioner wondering when the hell they were going to start kissing.
    • 53 Metascore
    • 60 Lisa Alspector
    Cher generates much of the movie's limited interest with her powerful screen presence, and Maggie Smith's skill as a diplomat's widow who believes she has a special relationship with Mussolini is undeniable. Yet the story, structured by the fragmented perspectives of too many characters, is more often lightweight than funny.
    • 63 Metascore
    • 60 Lisa Alspector
    The vicarious catharsis offered by this adaptation of Anna Quindlen's novel is as efficient as that of any family-affected-by-illness drama.
    • 75 Metascore
    • 60 Lisa Alspector
    As personal and political agendas mix, with deadly results, director Jim Sheridan parallels the moderated violence of boxing with the unchecked violence of terrorism.
    • 42 Metascore
    • 60 Lisa Alspector
    Even as you're wincing at what you thought was misguided earnestness, it's being subverted by filmmakers who've turned many of the genre's weaknesses into tiny triumphs.
    • 50 Metascore
    • 60 Lisa Alspector
    This 'heartwarming' thriller refuses to distinguish realism from stylization, and much of the plot is a twisted mess of repetition and unpersuasive motivation.
    • 54 Metascore
    • 60 Lisa Alspector
    Would be sweeter if the fair maiden weren't such a pill and more exciting if the villain weren't quite so nasty.
    • 52 Metascore
    • 60 Lisa Alspector
    Instructive comedy, which is marvelously neutral toward a type of sexual and domestic relationship that's often exploited or overblown.
    • 56 Metascore
    • 60 Lisa Alspector
    Engagingly corny drama.
    • 36 Metascore
    • 60 Lisa Alspector
    Plotted densely enough to make the lulls forgivable, this movie concerns a contract killer (Bruce Willis) who employs several small-business owners to craft his super-high-tech weapons and the many accessories that enable him to assume multiple identities.
    • 54 Metascore
    • 60 Lisa Alspector
    There are moments of high hilarity in the slapstick that results when the characters attempt to minimize mucus-membrane contact during sex.
    • 54 Metascore
    • 60 Lisa Alspector
    Sex and JFK's assassination are intertwined in this puerile, pseudodark story about a wacky family--an adaptation of Wendy MacLeod's play that uses the medium of cinema mainly to exploit archival footage.
    • 45 Metascore
    • 60 Lisa Alspector
    It's always at least a little disingenuous to attack the medium that's your bread and butter; this media-bashing movie tries to get around the problem by restricting its critique to television, specifically the news.

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