For 139 reviews, this critic has graded:
  • 41% higher than the average critic
  • 0% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Bill Cosford's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Untouchables
Lowest review score: 0 Halloween III: Season of the Witch
Score distribution:
  1. Positive: 71 out of 139
  2. Negative: 21 out of 139
139 movie reviews
    • 79 Metascore
    • 100 Bill Cosford
    This is a big, beautifully designed movie in which the filmmakers' intelligence is everywhere; it's the product of a special vision. And Brian De Palma continues to be good news from Hollywood. [3 June 1987, p.D1]
    • Miami Herald
    • 55 Metascore
    • 88 Bill Cosford
    This is what we call a movie-movie, a movie that throws nuance and self-consciousness and artiness to the wind and concentrates on the slam-bam. It's richly entertaining, it's big, it moves fast. [10 Aug 1984, p.C1]
    • Miami Herald
    • 72 Metascore
    • 88 Bill Cosford
    JFK
    JFK is staggering in its power. [20 Dec 1991, p.5]
    • Miami Herald
    • 79 Metascore
    • 88 Bill Cosford
    Poltergiest is no nonstop scream express; at times it pulls its punches (Spielberg wants that PG rating), and at times its effects are bigger than life and less than terrifying. But like Spielberg's Jaws, which was a perfect genre movie, Poltergeist does what it's supposed to do about as well as it can be done.
    • 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
    • 95 Metascore
    • 88 Bill Cosford
    Beauty and the Beast is so funny, exciting and suspenseful that its obvious moral (appearance can mean nothing; it's what's inside that counts) is engaging rather than perfunctory. [22 Nov 1991, p.G11]
    • Miami Herald
    • 92 Metascore
    • 88 Bill Cosford
    Platoon lacks the sweep, the heroic (and anti-heroic) vision of Apocalypse Now, and it lacks that film's signal strength, which was its evocation of the visceral appeal, the sheer romance of war, at least to those not fighting it. Some of Coppola's images in Apocalypse Now were among the most beautiful in contemporary film. Platoon is merely terrifying. [16 Jan 1987, p.6]
    • Miami Herald
    • 69 Metascore
    • 88 Bill Cosford
    It's such a pleasure in so many ways that one feels like yelling, "Welcome back." Forget Scarface, all is forgiven. Body Double reminds us what it's like to be in the presence of an original, and that does not happen often at the movies, these days or any days. [27 Oct 1984, p.D1]
    • Miami Herald
    • 73 Metascore
    • 88 Bill Cosford
    What Hunter does is to re-create, starting from the moments after the crime has been committed, the milieu in which its horrifying aftermath might plausibly have taken place. Without violence or suspense, River's Edge is horrifying. [29 May 1987, p.D5]
    • Miami Herald
    • 57 Metascore
    • 75 Bill Cosford
    Carpenter creates an atmosphere in Thing; it's a weird one, an odd landscape and clearly alien territory, but it's entertaining nonetheless. And for those who have not been to a creep show in the last couple of years, The Thing has some very nasty surprises. [25 June 1982, p.D1]
    • Miami Herald
    • 71 Metascore
    • 75 Bill Cosford
    Splash is funny and gentle and quite entertaining, and there isn't a cynical moment in it. And unlikely as this may sound, Splash suggests that we had better keep an eye on Ron Howard, director. He is something special, too. [12 Mar 1984, p.C6]
    • Miami Herald
    • 59 Metascore
    • 75 Bill Cosford
    The film has fun. In a way, Creepshow is a horror for grownups. It is grownups, after all, who understand that horror stories must be fun; if they're not, then they're just horrifying, and who wants that? [15 Nov 1982, p.D3]
    • Miami Herald
    • 80 Metascore
    • 75 Bill Cosford
    This is one mean little movie, fully deserving of some sort of warning badge to keep out the faint of heart and blue of nose. It's not, by any stretch of the imagination, pornography, so disregard the onetime X (the film is being distributed without a rating). But make no mistake: Henry will give you the creeps. [10 August 1990, p.G13]
    • Miami Herald
    • 51 Metascore
    • 75 Bill Cosford
    Woody Allen's new movie, A Midsummer Night's Sex Comedy, will not make you cry, as Annie Hall and Manhattan were capable of, and it won't make you cringe, as Stardust Memories almost demanded. It is not screamingly funny, romantically piquant, bitter or even, in most ways, unusual. With the exception of a single recurring image--that of Allen as an amateur inventor of the early 20th Century, flapping about in various homemade flying machines--there is not even anything of the absurd in this film. It's just an engaging Woody Allen movie, in which much of the humor is familiar and the tone is as moistly appealing as the title suggests. [18 July 1982, p.L3]
    • Miami Herald
    • 55 Metascore
    • 75 Bill Cosford
    Remarkably, director Albert Magnoli is able to use a single moment of melodrama to give this story a measure of depth. And from that point on, Purple Rain is improbably successful at tugging on the heartstrings as well as shaking the rafters. It winds up a love story, and one with power. [27 July 1984, p.D1]
    • Miami Herald
    • 77 Metascore
    • 75 Bill Cosford
    At times it doesn't make a lick of sense, and at times it's as shaky as a Poindexter memory. But it's full of goofy developments and paranoid fantasies; it's the perfect movie for its place in time. [14 Aug 1987, p.D1]
    • Miami Herald
    • 68 Metascore
    • 75 Bill Cosford
    Burton is a first-rate stylist, but this time he's actually better at suggesting the inner life of his characters. [19 June 1992, p.G6]
    • Miami Herald
    • 65 Metascore
    • 75 Bill Cosford
    The good-heartedness and skill of Ron Howard, director, have become something to be reckoned with. Cocoon, for all its failures -- and its dependence on hokey effects is a major one -- suggests that Spielberg is not alone out there. [21 June 1985, p.C1]
    • Miami Herald
    • 49 Metascore
    • 75 Bill Cosford
    When it's working Blind Date is frenzied and very funny. It's a return to form for Blake Edwards, who has made a good many bad movies over the past 10 years. And in Willis and Basinger there is the kind of team that, back in the good old days, would have launched a series -- not sitcom/sitdram, but big-screen. [27 Mar 1987, p.D1]
    • Miami Herald
    • 58 Metascore
    • 75 Bill Cosford
    The film works as contemporary fable, cautionary tale and perversely driven love story all at once. There's a gratifyingly wide streak of humanism running through it. And there's that "chemistry." Malkovich and MacDowell, bubble, bubble. Yes, indeed. [26 Apr 1991, p.G11]
    • Miami Herald
    • 71 Metascore
    • 75 Bill Cosford
    The film isn't perfect. Seidelman is still pretty much brand-new at this, and there are times when the movie seems about to slip through her fingers, run off into the streets and flow farther, irretrievably, downtown. And the ending has the patness of a studio contrivance; one guesses that had Seidelman been in complete control, something more ambiguous might have resulted. Still, what fun: Good, and good for you, too. Hollywood reaches out and gives someone with talent a chance to make something genuine and offbeat. It's a great system. [01 Apr 1985, p.C4]
    • 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
    • 54 Metascore
    • 75 Bill Cosford
    Johnny Dangerously was directed by Amy Heckerling, who made Fast Times at Ridgemont High and, like most other female directors, has been waiting for a chance to make a lot of money with a movie, waiting for her breakthrough film. This ought to be it: It's a splendid sophomoric comedy, and these days, in the time of Hollywood's perpetual freshmen, that's saying something. [21 Dec 1984, p.D1]
    • 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
    • 61 Metascore
    • 75 Bill Cosford
    The Natural is dense with Boys' Life stories and grand heroics, and it sometimes wanders from black comedy to serious icon-bashing and back again. But mostly it's good fun. At the end, everyone in the audience is swinging imaginary bats. It's a great movie for summer. [11 May 1984, p.D1]
    • Miami Herald
    • 58 Metascore
    • 75 Bill Cosford
    So TRON is an adventure story, with the requisite (and understated) love triangle at its heart. But it is also a story of remarkable special effects, and this is the stuff you haven't seen before. [09 July 1982, p.C1]
    • Miami Herald
    • 66 Metascore
    • 75 Bill Cosford
    The lead roles are played by Al Pacino and Michelle Pfeiffer. They're the reasons this movie works. Despite itself. [11 Oct 1991, p.G5]
    • 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
    • 97 Metascore
    • 75 Bill Cosford
    The direction, by Jim Sheridan, is tough-edged. [27 Oct 1989, p.G7]
    • 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

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