Lisa Alspector

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For 540 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 11.7 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 Whatever It Takes
Score distribution:
540 movie reviews
    • 46 Metascore
    • 70 Lisa Alspector
    At its best when it’s least overtly allegorical--and fortunately that’s most of the time.
    • 33 Metascore
    • 70 Lisa Alspector
    Unlike the many youth movies that can't overcome their makers' hindsight, this one may actually put you in an adolescent frame of mind.
    • 21 Metascore
    • 20 Lisa Alspector
    This 1998 sequel seems almost deliberately designed to disappoint--our enjoyment is supposed to lie in making fun of the obvious red herrings, contrived opportunities to show cleavage, melodramatic dialogue, gullible characters, and inevitable to-be-continued ending.
    • 46 Metascore
    • 40 Lisa Alspector
    If spelling out stereotypes were inherently funny the movie would be a hoot.
    • 35 Metascore
    • 30 Lisa Alspector
    Intriguing but poorly executed ideas are the basis of this not entirely unappealing romantic comedy.
    • 42 Metascore
    • 40 Lisa Alspector
    The childish humor and sensationalistic effects undercut the movie's philosophical agenda.
    • 57 Metascore
    • 30 Lisa Alspector
    Cathartically disgusting adventure movie.
    • 65 Metascore
    • 70 Lisa Alspector
    A sense of authenticity overshadows any contrivance in this subtly classic drama.
    • 75 Metascore
    • 80 Lisa Alspector
    This wonderful 1997 comedy--about an unlikely group of men who are determined to strip to music rather than get day jobs--is genuinely effective at inverting gender stereotypes and other assumptions, and it's not the slightest bit heavy-handed.
    • 55 Metascore
    • 80 Lisa Alspector
    Where other King stories and hundreds of other movies simplistically exploit the archetype, this tale intricately relates the actions of its young evildoer to the more abstract forces bearing down on the adults.
    • 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.
    • 73 Metascore
    • 70 Lisa Alspector
    Shtick isn't all this movie has to offer.
    • 65 Metascore
    • 70 Lisa Alspector
    The characters have been designed to make fun of themselves, disguising the craft of writer Neil Cuthbert and director Kinka Usher in getting us to laugh at them.
    • 42 Metascore
    • 20 Lisa Alspector
    Wasn't worth Allen's time and isn't worth yours.
    • 47 Metascore
    • 40 Lisa Alspector
    Leaking platitudes and cutesy ambience, this comedy folds a smarmy, social-issue subplot into a Saturday-morning-kids'-show sensibility; it's full of geeky gadgetry, and must've been a lot more fun to make than it is to watch.
    • 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
    • 60 Lisa Alspector
    Whether the story's bald ironies are historical cliches or just dramatic ones, they convey only platitudes about gender, sexuality, and power.
    • 64 Metascore
    • 80 Lisa Alspector
    Writer-director Deepa Mehta fuses the soap-opera elements of her plot -- which reveals one sexual secret after another of the variously betrayed, selfish, and self-actualizing members of the two couples' New Delhi household--into profound drama.
    • 40 Metascore
    • 20 Lisa Alspector
    Michael Tolkin and Bruce Joel Rubin's straightforward script and Mimi Leder's toneless direction make this attempt so boring that the titles counting down the months, weeks, and finally hours to impact are best used to gauge how soon the movie will be over.
    • 50 Metascore
    • 90 Lisa Alspector
    A hearty style of self-referential filmmaking that only adds to the persuasiveness of Lillard’s stunning performance.
    • 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.
    • 45 Metascore
    • 60 Lisa Alspector
    Vigilant viewers may spend many of the 101 minutes fixating on tiny holes in the plot, but I was busy being moved by the premise and the filmmakers' confidence in the power of their metaphor: a little boy who's disappointed in the man he grew up to be.
    • 16 Metascore
    • 60 Lisa Alspector
    I kind of liked this slow, stoner comedy.
    • 51 Metascore
    • 60 Lisa Alspector
    A pleasure.
    • 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.
    • 63 Metascore
    • 80 Lisa Alspector
    Doesn't try too hard to be anything other than a vicarious experience that makes you crave the satisfaction you know you'll get when the hero gets his revenge.
    • 61 Metascore
    • 70 Lisa Alspector
    The luminous images--as much the filmmakers' as the painter's--are occasionally transcendent.
    • 55 Metascore
    • 80 Lisa Alspector
    The theories about sexuality and trauma artfully advanced in this previously unreleased 1975 debut of director Catherine Breillat (Romance, Fat Girl) are more nuanced and intuitive than those of most schools of psychology.
    • 75 Metascore
    • 50 Lisa Alspector
    The force of the social criticism is diminished by contrivance and the inclusion of peripheral material.
    • 35 Metascore
    • 30 Lisa Alspector
    Director Bruce Beresford -- not intending to be funny but succeeding wildly.

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