For 382 reviews, this critic has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 9.3 points lower than other critics. (0-100 point scale)

Bill Cosford's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Age of Innocence
Lowest review score: 0 10 to Midnight
Score distribution:
  1. Negative: 84 out of 382
382 movie reviews
    • 48 Metascore
    • 50 Bill Cosford
    The film rarely makes any sense, and the climactic confrontation is incomprehensible. [10 May 1991, p.G5]
    • Miami Herald
    • 42 Metascore
    • 63 Bill Cosford
    It has several amiable performances, including Lithgow's usual nice guy, Lainie Kazan's savagely nosy neighbor, Margaret Langrick's petulant teen and Don Ameche as a bullion- hearted Bigfoot expert. And like Harry, in its own ham-handed, goofy way the film means so well. What the heck. [5 June 1987, p.D1]
    • 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
    • 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
    • 71 Metascore
    • 63 Bill Cosford
    Carpenter keeps it sweet. This means muting his fabled skills as an "action" director in favor of plumbing the cutes, and it means that Starman isn't the grown-up entertainment that it could have been. But it's not your everyday romance, either, and it's hard to hate. [14 Dec 1984, p.18]
    • 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
    • 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
    • 46 Metascore
    • 63 Bill Cosford
    Weird Science is a nerd-reform film, down to its dewy finale in which all concerned have learned a Lesson About Life. But it's almost always fun. At its best, it's more proof that Hughes is one of American movies' unusual talents. He's an original. [2 Aug 1985, p.C1]
    • Miami Herald
    • 59 Metascore
    • 75 Bill Cosford
    This third (and, I would guess, last) installment does what few sequels do. It actually extends the story into its logical destination rather than merely recycling familiar characters and situations. It's not terrifying. It is an audacious first film. It is fully as dreadful as fans might hope. Don't miss it. [22 May 1992, p.G5]
    • 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
    • 77 Metascore
    • 63 Bill Cosford
    The Road Warrior shows what happens when filmmakers learn something on their way to the sequel. Though the action here follows a predictable course (it's high-tech Shane), the milieu is fascinating, the story sophisticated where Mad Max was crude. [25 May 1982, p.D5]
    • 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.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 62 Metascore
    • 63 Bill Cosford
    Ward does manage to pump the film with tension in the climactic, will-the-Indians-beat-the-Yankees sequence, and I found Major League hard to resist in its last 20 minutes or so -- even though it's sappy enough to make Levinson's prettifying of The Natural seem positively dour by contrast. Maybe it's just the season. [7 Apr 1989, p.1]
    • Miami Herald
    • 51 Metascore
    • 63 Bill Cosford
    Better Off Dead has the body of a tired teen comedy but the soul of an inspired student film; it's the first movie in a long time to interrupt itself periodically with flights of animated fancy. At one point, romantic foreshadowing is accomplished by a "clay-mation" sequence featuring cheeseburgers in love. At another, a lovesick teen draws a cartoon picture of his faithless girlfriend, and the drawing tells him to get lost. [17 Oct 1985, p.B6]
    • Miami Herald
    • 36 Metascore
    • 25 Bill Cosford
    Road House makes Cocktail look like a documentary. [19 May 1989, p.6]
    • 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
    • 97 Metascore
    • 75 Bill Cosford
    The direction, by Jim Sheridan, is tough-edged. [27 Oct 1989, p.G7]
    • 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
    • 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
    • 47 Metascore
    • 63 Bill Cosford
    It's fluffy stuff, lovingly made and instantly forgettable. [20 May 1988, p.5]
    • 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

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