For 384 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 9.4 points lower than other critics. (0-100 point scale)

Bill Cosford's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Broadway Danny Rose
Lowest review score: 0 Halloween III: Season of the Witch
Score distribution:
  1. Negative: 84 out of 384
384 movie reviews
    • 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
    • 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
    • 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
    • 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
    • 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
    • 24 Metascore
    • 25 Bill Cosford
    Mulcahy has style to burn, but he may well have used the script to light it, for Highlander almost never makes any sense. [11 Mar 1986, p.B4]
    • Miami Herald
    • 25 Metascore
    • 25 Bill Cosford
    The formulae of gal-next-door and big game are followed so slavishly that it's hard to laugh at Teen Wolf even on the rare moments when it is original. The script and the direction are simply too lazy, too contemptuous even of adolescent audiences. [24 Aug 1985, p.C5]
    • Miami Herald
    • 41 Metascore
    • 25 Bill Cosford
    I'd have thought you'd get more for $3 million. The dialogue here is among the worst in modern big-budget memory; even the cliches are lame. [20 Mar 1992, p.G5]
    • Miami Herald
    • 50 Metascore
    • 0 Bill Cosford
    There's a delightfully promising premise behind Halloween III -- something's wrong with the kids' masks -- but somehow Wallace gets sidetracked, and the movie wanders away. [30 Oct 1982, p.D5]
    • Miami Herald
    • 61 Metascore
    • 25 Bill Cosford
    In New Jack City, director Mario Van Peebles seems determined to show that he can make a movie as shallow and violent as any white Hollywood hack. No problem: He did it. [8 Mar 1991, p.G12]
    • Miami Herald
    • 36 Metascore
    • 25 Bill Cosford
    Road House makes Cocktail look like a documentary. [19 May 1989, p.6]
    • Miami Herald
    • 39 Metascore
    • 25 Bill Cosford
    Parts of The Bodyguard are inadvertently hilarious, as in a romantic encounter involving Houston, Costner and a samurai sword (she unsheathes it so very, very carefully). Others just seem to go on, and on, and on -- at two hours and five minutes, this one is easily a half-hour too long. [25 Nov 1992, p.E4]
    • Miami Herald
    • 26 Metascore
    • 25 Bill Cosford
    To be fair, it must be acknowledged that there is a spectacular decapitation in the film's very first scene, and a couple of head-bashings later on, and these are enough to jolt one awake. But most of the film is so flatfooted that one longs for the batterings of The Texas Chainsaw Massacre or at least the campy excesses of Fright Night. [14 Oct 1985, p.C6]
    • Miami Herald
    • 25 Metascore
    • 25 Bill Cosford
    Cobra looks and sounds as bad as it does because Stallone hired George P. Cosmatos (Rambo), a hack with no ideas, to direct, and because Stallone wrote the screenplay himself. No excuses: This movie is just the way the highest paid and hence most powerful man in Hollywood wanted it. You take a long look at the thing, you keep that in mind: This is the film he meant to make. [24 May 1986, p.D1]
    • Miami Herald
    • 42 Metascore
    • 25 Bill Cosford
    Footloose is for an audience that wants something easy to think about, a conflict in which the two sides are easy to distinguish and an "enemy" who is easy to look down upon. It's for the folks who like to skip dinner and go right to the cream- filled finale, and though not quite evil, it's as silly as can be. [1 Mar 1984, p.D12]
    • Miami Herald
    • 38 Metascore
    • 25 Bill Cosford
    It's hard to figure how the combination of director Carl Reiner, comedian John Candy and a movie with the title Summer Rental could come to nothing. [10 Aug 1985, p.D7]
    • Miami Herald
    • 39 Metascore
    • 25 Bill Cosford
    In most respects Police Academy 2 is witless, which complaint is admittedly akin to inspecting a Hefty bag and being dismayed to find trash. [03 Apr 1985, p.D7]
    • Miami Herald
    • 36 Metascore
    • 25 Bill Cosford
    Think for a moment about a film that depends for much of its appeal upon a romance between Michael J. Fox and Helen Slater. No, not as May-December or even July-August, but June-June, as in peers in love. It's Smurf-meets-girl -- not just a mismatch, but a confusion of species. [10 Apr 1987, p.D1]
    • Miami Herald
    • 15 Metascore
    • 12 Bill Cosford
    Among the mysteries of Hollywood life is the terribleness of Jaws sequels; they are the very worst of a bad lot. Now comes No. 4 -- Jaws the Revenge -- and it is as wretched as it is ungrammatical. [17 July 1987, p.1D]
    • Miami Herald
    • 33 Metascore
    • 25 Bill Cosford
    The unfortunate aspect of Class, which is glossier than Private Lessons and marginally more believable than My Tutor, is that its laughs are built around the suffering of a prime candidate for intensive therapy. Thus while the kids are watching one movie -- boy loses virginity, ya-hoo -- adults in the audience will be watching another -- wife and mother has an emotional breakdown at the hands, literally, of a 14-year-old. The latter, of course, is not funny. [25 July 1983, p.C6]
    • Miami Herald
    • 35 Metascore
    • 25 Bill Cosford
    Born American was made in Finland, a first feature by two Finnish directors. Their government reportedly stopped financing the project in mid-production and eventually disowned it. The guess here is that the reason for this was not so much fear of offending the Great Red Neighbor as it was simple embarrassment. [01 Sep 1986, p.D5]
    • Miami Herald
    • 57 Metascore
    • 25 Bill Cosford
    Ballard made The Black Stallion and Never Cry Wolf, and he's good with spectacle;: His second-unit crew this time found ways to shoot the controlled violence of big sails in good wind that take the breath away. But the rest of Wind is just out there flapping. What a mess. [14 Sep 1992, p.C5]
    • Miami Herald
    • 25 Metascore
    • 25 Bill Cosford
    The worst thing about Encino Man is that it lacks the blockhead convictions of its predecessors, movies that at least hewed to the (il)logic of their heroes' know-nothingness -- reveled in that condition, in fact. In Encino Man, Link winds up teaching everyone Valuable Life Lessons, which has the unsettling effect of making the movie seem even dumber than it is. If such a thing is possible. Dude. [23 May 1992, p.E4]
    • Miami Herald
    • 4 Metascore
    • 0 Bill Cosford
    It's hard to dislike Cheech and Chong, even now, in the wake of the most tedious 90 minutes of "feature" film in 1983. "The boys" have been at work on their curious subgenre -- drug references and large breasts in ceaseless combination -- for far too long now, and you can tell, watching them sleepwalk through the material, that they're tired. [10 May 1983, p.B5]
    • Miami Herald
    • 12 Metascore
    • 0 Bill Cosford
    The final scene is so foul that even ya-hoos have trouble mustering much applause; it's the kind of film that makes you feel dirty. As for Bronson, whose box-office appeal has faded as the viciousness of his films has increased, Ten to Midnight is a kind of milestone: It's time to write him off. [22 Mar 1983, p.B5]
    • Miami Herald
    • 17 Metascore
    • 25 Bill Cosford
    An object lesson in wasting a talented comedian. The film is so far off base that Candy winds up an action hero, and his co- star, Eugene Levy (who was even weaselier on SCTV) gets the girl. [15 Aug 1986, p.D2]
    • Miami Herald
    • 24 Metascore
    • 25 Bill Cosford
    Despite some clever stunts and Varney's energetic persona-recycling, Ernest Goes to Camp, which was directed by the same man who makes the Ernest commercials, requires heroic patience for those much over 12. [25 May 1987, p.C8]
    • Miami Herald
    • 36 Metascore
    • 25 Bill Cosford
    Man bites dog in Turner & Hooch, the new Tom Hanks vehicle, and it's a tender moment. But there's precious little else going on in this tired little action comedy, which is so bereft of ideas that it winds up borrowing from Lady and the Tramp, among other familiar sources. [28 July 1989, p.G5]
    • Miami Herald
    • 44 Metascore
    • 25 Bill Cosford
    Pryor is so lacking in energy that Wilder steals most of the movie from him. For the first time in his career, Wilder actually seems robust, but it's only because he's performing opposite a ghost. It's quite sad. [12 May 1989, p.DW5]
    • Miami Herald

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