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 Radio Days
Lowest review score: 0 10 to Midnight
Score distribution:
  1. Negative: 84 out of 384
384 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
    • 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
    • 45 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 48 Metascore
    • 50 Bill Cosford
    The film rarely makes any sense, and the climactic confrontation is incomprehensible. [10 May 1991, p.G5]
    • Miami Herald
    • 63 Metascore
    • 50 Bill Cosford
    The movie is sweet and reflects Disney's usual care, but there's nothing in it to match that title. [23 June 1989, p.H11]
    • Miami Herald
    • 62 Metascore
    • 50 Bill Cosford
    The movie is facile and manipulative, but it can't hide the gifts of Jackie Gleason in the role of Hanks' father. [30 July 1986, p.D6]
    • Miami Herald
    • 41 Metascore
    • 50 Bill Cosford
    Gag delivery is by shotgun and, as happens when there is even a minimum of talent involved in such projects, some of the material is on target. And some of it is awful. [27 Mar 1984, p.B5]
    • Miami Herald
    • 62 Metascore
    • 50 Bill Cosford
    Empire of the Sun seems to end a half-dozen times -- always a bad sign. Its merits notwithstanding -- and Spielberg probably can't make a bad film -- in its own way this movie is as ego-heavy and ponderous as Ishtar. It's literary, all right. Empire of the Sun is a weighty tome indeed. [11 Dec 1987, p.D1]
    • Miami Herald
    • 70 Metascore
    • 50 Bill Cosford
    It's as if Dante sought so hard to parrot his producer that he wound up parodying, and all involved should have known better. There's a current of menace to Dante's work that sets him apart from Spielberg, and a measure of innocence in Spielberg's quite apart from anything Dante has done. [8 June 1984, p.1]
    • Miami Herald
    • 50 Metascore
    • 50 Bill Cosford
    Like "An Officer and a Gentleman", Top Gun travels a cramped emotional range. The characters don't really change, but have plot devices imposed on them. Unlike its template, however, Top Gun does have a payoff: Maverick and his pals do a lot of flying, and many of the aerial scenes are impressive. [16 May 1986, p.6]
    • Miami Herald
    • 30 Metascore
    • 50 Bill Cosford
    The film seems just right for kids, though what older fans of Cruise ("Risky Business") and Scott will make of it is far less clear. [22 Apr 1986, p.B4]
    • Miami Herald
    • 77 Metascore
    • 50 Bill Cosford
    We get the feeling that whatever it is Scorsese and Price have to say about these marvelous characters, it is not anything very interesting.
    • 50 Metascore
    • 50 Bill Cosford
    The script remains the big problem, however -- all its roots are showing, and they are very old. In Lucy's day, a story like this would end with restoration of the comfy stereotypes -- Dad would get his job back at the plant, enhanced by his new appreciation for what Mom has gone through, and Mom would forsake her business success, more sure than ever that her place is at the sink. That's just what happens in Mr. Mom. In Hollywood, time stands still. [27 Aug 1983, p.5]
    • Miami Herald
    • 67 Metascore
    • 50 Bill Cosford
    The very premise is a test of one's tolerance for the cutes. The rest of the film is merely strange. [6 Apr 1984, p.D1]
    • Miami Herald
    • 24 Metascore
    • 50 Bill Cosford
    Maximum Overdrive is the classic botch. Good idea, nice effects, bad pacing, porous script, no punch...Too bad. As usual, the premise has promise. [26 July 1986, p.C1]
    • Miami Herald
    • 38 Metascore
    • 50 Bill Cosford
    As time goes on, and more King comes to the screen, The Shining, once widely disparaged, looks better and better. At least that film translated some of King's terror; subsequent adaptations, Pet Sematary included, do little more than animate the gore. [24 Apr 1989, p.C6]
    • Miami Herald
    • 45 Metascore
    • 50 Bill Cosford
    The idea that there is evil under the sun and amongst the verities out there in the clean-living heartland is not exactly new to fiction. Neither is the one about the bad seeds, the homicidal children. In combination, however -- the combination in Children of the Corn-- the elements have a perverse novelty. [19 Mar 1984, p.C6]
    • Miami Herald
    • 54 Metascore
    • 50 Bill Cosford
    None of the three is at all frightening, and though the final tale makes use of some nifty makeup effects, they're ones we have seen many times before. [11 May 1990, p.11]
    • Miami Herald
    • 65 Metascore
    • 50 Bill Cosford
    Ihave it on good authority that Pat Conroy's The Prince of Tides is a wonderful book. People rave about it. But Barbra Streisand's lumbering, tearjerker adaptation gives little hint of that. This movie is long and full of pain, and it's driven by the most syrupy musical score I can recall. [25 Dec 1991, p.1]
    • Miami Herald
    • 49 Metascore
    • 50 Bill Cosford
    Heartburn doesn't have enough good inside semi-fiction to be of much interest to the Washington cognoscenti, and it's not enough of a movie to stay in the memory of the outside-the-beltway crowd more than an hour or two. What it is is a chance to see our two most celebrated actors at work for a while between films. [25 July 1986, p.D1]
    • Miami Herald
    • 44 Metascore
    • 50 Bill Cosford
    Mel Brooks has never been a finesse comic, and no one expects him to hit with every gag. But this film reminds you how far his films have slipped behind the shotgun comedies of the Zucker brothers (David and Jerry) and Jim Abrahams, collectively and singly, who have built on Airplane! to a broad- gag frenzy. [28 July 1993, p.E2]
    • Miami Herald
    • 56 Metascore
    • 50 Bill Cosford
    The sad thing about Rising Sun is that for all the controversy surrounding the book, it plays as just another cop drama set against an alien landscape. As so often happens in Hollywood these days, the alien locale is Los Angeles, an L.A. under assault from within and without. Rising Sun the movie doesn't have all that much to say about that condition. It sticks to the safe stuff. [30 July 1993, p.G4]
    • Miami Herald

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