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
    • 29 Metascore
    • 50 Lisa Alspector
    It's hard to be diverted by a tale whose emblematic romances and terminal cuteness serve an agenda that seems particularly dated today.
    • 46 Metascore
    • 50 Lisa Alspector
    Shows her transition to sobriety as many ensemble stories do--mainly through the development of other characters, the quirkier the better.
    • 18 Metascore
    • 50 Lisa Alspector
    Lightweight slasher.
    • 29 Metascore
    • 50 Lisa Alspector
    May persuade you to identify not with race-car drivers but with race cars.
    • 40 Metascore
    • 50 Lisa Alspector
    Demands to be treated with conviction as parody if not as science fiction.
    • 48 Metascore
    • 50 Lisa Alspector
    This action comedy transforms LAPD detective Chris Tucker from an intolerably annoying egotist into a practically lovable intolerably annoying egotist.
    • 65 Metascore
    • 50 Lisa Alspector
    Tiresome, blood-filled comedy.
    • 74 Metascore
    • 50 Lisa Alspector
    Arch yet earnest.
    • 48 Metascore
    • 50 Lisa Alspector
    The filmmakers realize that playing baseball isn't nearly enough to fix what's wrong in these kids' lives, which might have made a more provocative ending than what follows.
    • 47 Metascore
    • 50 Lisa Alspector
    This atmosphere-heavy drama, with its comfortably quirky characters, elegant performances, and ever shifting tone, is so innocuous it's not worth panning.
    • 13 Metascore
    • 50 Lisa Alspector
    The earnestness of some of the drama in the only deceptively unsophisticated narrative may be more shocking than any of the gross-outs.
    • 31 Metascore
    • 50 Lisa Alspector
    The filmmakers seem to think they can also manipulate us by combining the erotic with the disgusting. And they can--it's a foolproof tactic.
    • 65 Metascore
    • 50 Lisa Alspector
    The lesson of this barely stylish crime thriller is that a dull story is not improved by withholding information about characters' motives from the audience as long as possible.
    • 66 Metascore
    • 50 Lisa Alspector
    Writer-director James Toback must believe his audience is hopelessly prudish if he thinks this pedantic story, which takes place over several hours in a Manhattan loft, is provocative.
    • 44 Metascore
    • 50 Lisa Alspector
    An effects vehicle disguised as a metaphysical meditation (or a metaphysical meditation disguised as an effects vehicle?), this strikingly unimaginative 1998 movie contains visuals that can barely assert their niftiness amid the vacuous themes.
    • 45 Metascore
    • 50 Lisa Alspector
    Too dry to be very funny and too contrived to be outrageous, this movie has a tone so unusual it almost seems to have none at all.
    • 27 Metascore
    • 50 Lisa Alspector
    This limp 1998 comedy tries hard to be both irreverent and ethical by suggesting that deceit motivated by self-interest is OK as long as no one gets hurt.
    • 42 Metascore
    • 50 Lisa Alspector
    Time-travel cliches, female characters who exert authority only so we'll laugh at the pussy-whipped males, dialogue that's neither self-mocking nor serious, and an ostentatious though not particularly exciting production design keep the movie from taking off.
    • 56 Metascore
    • 50 Lisa Alspector
    All the comedy, tragedy, and various obstacles to romance seem to have been contrived to divert the story from its tendency toward pulp erotica.
    • 36 Metascore
    • 50 Lisa Alspector
    Big laughs are few and far between in this 1998 movie, which is more successful as motivational anecdote than as comedy.
    • 43 Metascore
    • 50 Lisa Alspector
    Because so many female characters spend so much time trying to seduce Harrelson (usually successfully), the notion that multiplicity enhances intrigue is pretty worn out by the time any duplicity is revealed.
    • 20 Metascore
    • 50 Lisa Alspector
    The Griswolds, headed by Chevy Chase, are taking what could be one of their last family vacations.
    • 54 Metascore
    • 50 Lisa Alspector
    This desperately all-ages movie just emphasizes its banality by throwing money and effort into effects and production design at the expense of pacing.
    • 37 Metascore
    • 50 Lisa Alspector
    Though the climax of the story is a little forced and sloppy, with both lovers behaving way out of character, this movie is aware enough of the conventions it's using that it's more moving than cloying.
    • 29 Metascore
    • 50 Lisa Alspector
    It's tempting to accuse director and star Kevin Costner of taking the idea of vanity production to a new level in this frontier adventure based on a book by David Brin.
    • 75 Metascore
    • 50 Lisa Alspector
    The force of the social criticism is diminished by contrivance and the inclusion of peripheral material.
    • 69 Metascore
    • 50 Lisa Alspector
    Takes too long to get its themes and characters out on the field.
    • 22 Metascore
    • 50 Lisa Alspector
    This thriller largely succeeds in putting quotation marks around its use of genre conventions, mixing subtlety and overkill to create a pensive mood that transcends the plot.
    • 41 Metascore
    • 50 Lisa Alspector
    The lawyer is marvelously played by Evelina Fernandez, who wrote the screenplay based on her play.
    • 41 Metascore
    • 50 Lisa Alspector
    For all the high-tech allusions and middle-tech illusions, the movie--the 23rd in an immortal series--draws its power from its grittiness and unresolved allegory.