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 7.8 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
    • 11 Metascore
    • 60 Lisa Alspector
    But the most stimulating, satisfying aspect of this action fantasy is the theme music.
    • 56 Metascore
    • 60 Lisa Alspector
    As the driven competitor who learns to make hubris work for him, Jared Leto gives a complex performance that suggests a deep, intriguing interior to the character even as he maintains a convincing one-dimensional facade.
    • 56 Metascore
    • 60 Lisa Alspector
    There's tenderness, humor, a gratuitous body double, and splashy lighting in this ho-hum action drama, which takes itself at times too seriously and at other times not seriously enough.
    • 53 Metascore
    • 60 Lisa Alspector
    This fairly serious meditation on conventionality and monogamy blames his ennui on external forces, remaining adolescent even when it suggests its hero has grown up.
    • 68 Metascore
    • 60 Lisa Alspector
    An admirable if frequently soporific 1992 adaptation of Norman Maclean's account of life in Missoula, Montana.
    • 51 Metascore
    • 60 Lisa Alspector
    As an undiscovered beauty who frequents open-stage night at the local performance-art club, her rack hidden under paint-spattered overalls, her chiseled face obscured by glasses, Rachael Leigh Cook is charming and sincere, and ultimately so is Prinze, whose character's realization that he's not as shallow as he'd thought is convincing.
    • 75 Metascore
    • 50 Lisa Alspector
    The twists and revelations of this rigorous noir reduce it to canned psychodrama.
    • 56 Metascore
    • 50 Lisa Alspector
    DeVito's low-key midlife crisis is consistently moving, but Spacey, saddled with the role of provocateur, is demonically boring.
    • 65 Metascore
    • 50 Lisa Alspector
    Though the questionable motives and bad planning of offscreen characters who far outrank Gibson make it difficult to take at face value one soldier's last words -- "I'm glad I could die for my country" -- some viewers will, which may be as the filmmakers intended.
    • 49 Metascore
    • 50 Lisa Alspector
    Stylishly realized, but its striking cinematography, nontraditional editing, and consistently reflexive use of genre conceits add up as methodically as a math problem.
    • 65 Metascore
    • 50 Lisa Alspector
    The idiosyncratic instrumentation and melodies in the score by Angelo Badalamenti ("Blue Velvet") and a masterful opening scene are wasted on this pathetic thriller.
    • 29 Metascore
    • 50 Lisa Alspector
    I never thought I'd see a slapstick animal action movie about the beauty of interracial relationships and nonmarital sex, but that's what this is, and kids seem to love it.
    • 52 Metascore
    • 50 Lisa Alspector
    Has an adolescent energy and a tempered sexuality.
    • 44 Metascore
    • 50 Lisa Alspector
    This romantic comedy turns stereotypes inside out as the main character, whose sense of commitment is represented by a tattoo on her finger instead of a wedding ring.
    • 43 Metascore
    • 50 Lisa Alspector
    Mild gross-out comedy integrates a non sequitur -- a running joke made by a sidekick -- into the plot, providing some payoff.
    • 43 Metascore
    • 50 Lisa Alspector
    This watchable 1998 psychothriller deflects its cliches with canted angles, metonymic cropping, and a creeping pace, making it as much a parsing of "Twilight Zone"-brand irony as an example of it.
    • 59 Metascore
    • 50 Lisa Alspector
    Poor execution sometimes points up the difference between the telling of a story and the story itself--in this case, without diminishing the power of the latter.
    • 53 Metascore
    • 50 Lisa Alspector
    The final image, a minimalist evocation--perhaps a compromise for an unmarketable ending--puts an intriguing spin on everything that's come before it.
    • 34 Metascore
    • 50 Lisa Alspector
    A series of stunts with bears and lots of stage fighting involving characters who are unambiguously good or evil.
    • 55 Metascore
    • 50 Lisa Alspector
    The movie's strength is in its comedy; a tragic subplot feels merely manipulative.
    • 59 Metascore
    • 50 Lisa Alspector
    Elmo's obsessive reaction is never examined, compromising the ability of this rambling minor spectacle to put across its obvious lesson about sharing.
    • 34 Metascore
    • 50 Lisa Alspector
    The consistency with which the plot turns on characterization instead of contrivance makes this movie better than many of its supposedly grown-up competitors.
    • 52 Metascore
    • 50 Lisa Alspector
    The unusually thoughtful dialogue and soul-searching performances make this romantic drama seem deeper than it is.
    • 55 Metascore
    • 50 Lisa Alspector
    This spiritual thriller is too wooden to be taken as seriously as was clearly intended.
    • 71 Metascore
    • 50 Lisa Alspector
    Unfortunately the allegory tends to overpower the characterizations even as it deepens them.
    • 44 Metascore
    • 50 Lisa Alspector
    An open-mindedness in the plotting of this romantic comedy set on Ireland's Donegal coast adds a couple of mild surprises to the story.
    • 61 Metascore
    • 50 Lisa Alspector
    The gangster-movie plot, themes, and allusions aren't nearly as intriguing as the earnestly kitschy black-and-white wide-screen images or the mesmerizing, minimalist sound effects.
    • 57 Metascore
    • 50 Lisa Alspector
    This concept comedy-drama would be even better if the intercutting among households had been timed to add dramatic content rather than simply advance the subplots.
    • 52 Metascore
    • 50 Lisa Alspector
    Doesn't quite support the weight of its allegory.
    • 43 Metascore
    • 50 Lisa Alspector
    Has the enthusiasm and naivete of a first feature.