If they can get through the growing pains, no. My biggest problem with LCDs is it takes away the peppy, cartoonish zip that good dots had. Brevity is the soul of wit, and LCDs make it easier to screw up your presentation - it's obviously not a universal opinion, but I think the animations in Aerosmith are absolutely revolting. Stern was rarely good at dots to begin with, so it's no surprise their transition to a bigger, more complex, and highly detailed presentation form would come with a bunch of stumbling (SW is nearly incomprehensible when it ventures outside of merely providing information).
JJP has had more practice, but they haven't nailed it, either - The Hobbit is overwhelming if you're a new player, and Dialed In is missing that spark that makes Lawlor's best pins feel alive and theatrical. It's not funny or menacing enough, and the disasters don't feel neatly delineated and purposeful like they do in his best mode game, RS, which probably has the best modes of any pin in that they're instantly understandable, they all feel unique, and the balance of dots to physical gameplay is pretty even. It's more difficult to manage that when you've got a huge, semi-photorealistic image to work with - would the Minnesota mode work with Dialed In's graphics? Or is there something about the limited nature of dots that makes that mode funnier and more effective?
Out of all the LCD pins I've played (all of them, I think), so far Alien is the only one where the gameplay and LCD action feel naturally linked. They did an amazing job of creating a cohesive atmosphere and utilizing a few concepts to link everything together, and they used things like video glitches and the MUTHUR interface to link together relatively disparate clips and make it all function as a single piece. The medium is the message, as they say. The relatively huge, high-detail real estate of the LCD demands much, much more information management than dots did, and finding ways to make the display of the display function is a whole challenge by itself.