For 277 reviews, this critic has graded:
  • 44% higher than the average critic
  • 1% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Bill Cosford's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Raising Arizona
Lowest review score: 0 10 to Midnight
Score distribution:
  1. Negative: 53 out of 277
277 movie reviews
    • 47 Metascore
    • 50 Bill Cosford
    The film's one great asset, a real surprise, is Robert Downey Jr. in the title role. He grabs something of the Little Tramp's innate grace and anarchic wit, and he runs with it -- pratfalls with it and waddles off into the sunset with it. [08 Jan 1993, p.G5]
    • Miami Herald
    • 64 Metascore
    • 75 Bill Cosford
    The movie is at its most chilling, oddly enough, when one or another chase isn't going on. The real fun begins when Ryan becomes desperate and goes for help to his old pals in intelligence. This is prime Clancy material -- high-tech surveillance, computerized image enhancement, Intelligence with a capital "I." [5 June 1992, p.G5]
    • Miami Herald
    • 61 Metascore
    • 50 Bill Cosford
    Hot Shots isn't quite that bad, but given the material -- the military mind is certainly, in military parlance, a target-rich environment -- it ought to be funnier. [31 July 1991, p.D1]
    • Miami Herald
    • 52 Metascore
    • 63 Bill Cosford
    It's a big, likable movie without quite enough jokes, but the stars take turns with the burden, carrying the thing in relays. They're fun to watch. [16 Dec 1986, p.D4]
    • Miami Herald
    • 44 Metascore
    • 50 Bill Cosford
    For a while, director Joe Dante spins some daft gags off the situation, and Hanks and Fisher deliver their droller lines with a deadpan sincerity that produces genuine unease. But it turns out that there isn't really much of a script here, and soon The 'Burbs has devolved into a slow build to the big anti-climax. [17 Feb 1989, p.10]
    • Miami Herald
    • 22 Metascore
    • 25 Bill Cosford
    For the most part Blame It on Rio is witless, predictable and bland, despite Donen's fascination with the topless-beach scene (his camera combs the shore for breasts with the unsubtle fervor of a pig rooting for truffles). [18 Feb 1984, p.D7]
    • Miami Herald
    • 52 Metascore
    • 63 Bill Cosford
    Penny Marshall proves deft at blending the silly stuff with enough action to generate a bit of suspense; the mix is that of Beverly Hills Cop. And the script, though the work of a whole crowd -- almost always a bad sign -- has marvelous moments. [10 Oct 1986, p.D1]
    • Miami Herald
    • 70 Metascore
    • 75 Bill Cosford
    The writing is good and the direction rarely flabby, but the real strength of Buckaroo is in a large and enthusiastic cast, led by Peter Weller, who plays the title character with a perfect deadpan. [11 Aug 1984, p.B7]
    • Miami Herald
    • 65 Metascore
    • 50 Bill Cosford
    Soapdish is a spoof of soap operas, and the problem should be apparent from the start: It is very, very difficult to parody that which dwells already in the land of self-parody. [31 May 1991, p.G5]
    • Miami Herald
    • 67 Metascore
    • 50 Bill Cosford
    Though the charter of the Enterprise charges its crew to "go boldly where no man has gone before," the marketing strategy of Paramount Pictures clearly mandates that the film go quietly in a predictable fashion to a place where the mass audience will feel comfortable. This Star Trek II does, with its familiar faces and lovable homilies. The film seems bound to be one of the summer's big hits. Kids will love it, and dozing adults will at least find it endurable. [5 June 1985, p.C4]
    • Miami Herald
    • 56 Metascore
    • 38 Bill Cosford
    The Search for Spock should be great fun for Trek fans; it's splendid junk when it works. But if you can't hum the theme from memory, Trek III is likely to be just another way to kill two hours. [1 June 1984, p.D1]
    • Miami Herald
    • 71 Metascore
    • 63 Bill Cosford
    Star Trek IV: The Voyage Home is the dopiest and most congenial in the series, an indication that the producers have at last acknowledged that what they're dealing with is not science fiction or adventure, but a kind of cosmic fluke. [27 Nov. 1986, p.F1]
    • Miami Herald
    • 65 Metascore
    • 63 Bill Cosford
    The Undiscovered Country looks and feels more like a movie and less like a TV-family reunion. Still, the allegory is labored to say the least. [6 Dec. 1991, p.G5]
    • Miami Herald
    • 69 Metascore
    • 75 Bill Cosford
    Slacker is not always so purposefully creepy, but it's often as darkly funny; none of its characters is what you'd call normal, but the film's off-kilter view is such that they seem utterly in tune with their odd lives and odder times. [29 May 1992, p.5]
    • Miami Herald
    • 44 Metascore
    • 38 Bill Cosford
    Largely devoted to whatever laughs may be coaxed from the sound of a freshman belching and the sight of some mighty mature-looking coeds removing their blouses. There's some nose-picking, too, but not enough to save the picture. [20 July 1984, p.D6]
    • Miami Herald
    • 50 Metascore
    • 50 Bill Cosford
    The whole thing means to come down to big, round tears and mass sniffles, but though Spielberg invokes as many golden-era cliches as he can recall, he never gets the romance really working. It's tough being compared to Spielberg, and perhaps unfair if you happen to be Spielberg, but this is easily his least substantial film to date. Some tears, yes. No sparks. [22 Dec. 1989, p.G5]
    • Miami Herald
    • 52 Metascore
    • 50 Bill Cosford
    Hook is shot through with Big Theme, and it's splashy- looking and big of heart, as you'd figure a Steven Spielberg take on Peter Pan would be. But it's not the mega-movie that combination seemed likely to inspire, either. It isn't magic. [11 Dec. 1991, p.D1]
    • Miami Herald
    • 84 Metascore
    • 88 Bill Cosford
    Leigh is obviously a major talent of the English film resurgence, which may already have peaked but nonetheless offers hopes of its own. His loose way of making films -- the wandering camera, the scenes that seem to invent themselves as they go along -- somehow accommodates a genuine comic intelligence, which usually requires the tightest of controls. [2 June 1989, p.7]
    • Miami Herald
    • 88 Metascore
    • 75 Bill Cosford
    It's not a wonderful family, and the lives thus illuminated aren't sweet at all. But the movie is both things. In his sheer affinity for the human, Leigh approaches the great Jean Renoir. What fun to watch. [21 Feb. 1992, p.5]
    • Miami Herald
    • 76 Metascore
    • 63 Bill Cosford
    What we have here is a story out of early American history as retold by American pulp fiction, staged by a director with a sure touch for melodrama. [25 Sep 1992, p.G5]
    • Miami Herald
    • 57 Metascore
    • 63 Bill Cosford
    What Spielberg does is use the Lucas tricks to propel an old-fashioned fantasy, played broadly enough so that the laughs come as easily as the thrills. [23 May 1984, p.B1]
    • Miami Herald
    • 34 Metascore
    • 25 Bill Cosford
    Mann deserves credit for trying new stuff, of course; The Keep is nothing if not ambitious. But it isn't anything more, either. [20 Dec 1983, p.D5]
    • Miami Herald
    • 27 Metascore
    • 25 Bill Cosford
    There are jokes in this story of a 7-year-old adoptee from Heck, but most of them are funny despite the clumsiness of their telling. The rest aren't funny at all. [1 Aug 1990, p.D7]
    • Miami Herald
    • 48 Metascore
    • 50 Bill Cosford
    The movie isn't really about America and Japan at all; it's about set-ups for gags. [14 Mar 1986, p.D2]
    • Miami Herald
    • 50 Metascore
    • 25 Bill Cosford
    The sole mystery is the apparent collapse of Carpenter's skills as a storyteller. Prince of Darkness is shapeless and almost utterly lacking in rhythm, as if it had been slashed and then badly reassembled, like a Carpenter victim. [28 Oct 1987, p.D8]
    • Miami Herald
    • 72 Metascore
    • 88 Bill Cosford
    JFK
    JFK is staggering in its power. [20 Dec 1991, p.5]
    • Miami Herald
    • 45 Metascore
    • 50 Bill Cosford
    Though there's some wit on the fringes (including splendid use of a Reagan stump-speech line), the whole thing plays a lot like a Miami Vice via Star Trek. [7 Oct 1988, p.E10]
    • Miami Herald
    • 53 Metascore
    • 63 Bill Cosford
    Keaton is funny when she's tough, and funny when she's soft; the Baby Boom combination, for all the film's calculations and shameless cooing (the baby's dubbed, for pity's sake), is quite appealing. [7 Oct 1987, p.D8]
    • Miami Herald
    • 82 Metascore
    • 50 Bill Cosford
    It's too civilized by half and never quite funny enough. [31 Jan 1986, p.D1]
    • Miami Herald
    • 71 Metascore
    • 50 Bill Cosford
    F/X
    F/X doesn't have the surprises when it needs them. [8 Feb 1986, p.C7]
    • Miami Herald

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