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 Vertigo
Lowest review score: 0 Still Smokin
Score distribution:
  1. Negative: 84 out of 382
382 movie reviews
    • 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
    • 56 Metascore
    • 63 Bill Cosford
    My Girl, nominally a story about a gently wacky family but actually a no-holds-barred assault on the tear ducts, is one of those movies you want to hate -- but I don't think it's possible. [27 Nov 1991, p.D1]
    • Miami Herald
    • 66 Metascore
    • 63 Bill Cosford
    Pacino is the only real attraction. His character feels ancient, used-up, bone-tired -- vulnerable, maybe, but numb. We need to see this in his face, and Pacino can use his the way Triple-A uses maps. That face is still one of the great instruments of modern movies. [15 Sep 1989, p.G5]
    • 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
    • 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
    • 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
    • 49 Metascore
    • 50 Bill Cosford
    CB4
    The movie runs short of material and loses its comic edge about halfway through, but it's still just jumpy enough to keep you interested -- though the rap-video parodies are almost indistinguishable from the real thing. [15 Mar 1993, p.C6]
    • Miami Herald
    • 27 Metascore
    • 50 Bill Cosford
    Yes, it's all pretty silly. But for those who can stand the annoyance of the cardboard glasses, there are worse ways to kill a hot afternoon. [23 July 1983, p.D6]
    • Miami Herald
    • 64 Metascore
    • 50 Bill Cosford
    Sounds like Dirty Harry, looks like Dirty Harry, plays like Dirty Harry. The big difference is that Norris is not so mean as Eastwood, nor so interesting. Eastwood's Harry is flawed, even philosophical in his grumpy way; Norris' Sarge is just a nice guy who can kill you a hundred different ways. [06 May 1985, p.B6]
    • 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
    • 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
    • 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
    • 56 Metascore
    • 63 Bill Cosford
    At a little over two hours, Black Rain is a good half-hour too long, and the style gymnastics are eventually wearying. But Scott's work is always fascinating to watch, even as it grinds you down. And Douglas now has something heroic about him that enhances, if it doesn't quite transcend, the plot-by- numbers. It's fun watching the two of them volley. [22 Sep 1989, p.G5]
    • Miami Herald
    • 61 Metascore
    • 50 Bill Cosford
    Night and the City is the most disappointing big- expectations movie of 1992. It's hard to overstate the magnitude of its failures. There is almost nothing right about it. [23 Oct 1992, p.G5]
    • Miami Herald
    • 77 Metascore
    • 63 Bill Cosford
    It's almost wonderful. For an hour or so, it is. Funny, scary, occasionally wonderful. On the strength of that first hour, this should be one of the summer's big pictures. Nonetheless, when WarGames goes wrong, it's a great disappointment. [3 June 1983, p.D1]
    • Miami Herald
    • 48 Metascore
    • 63 Bill Cosford
    There are not as many jokes as a 95-minute movie needs, however, and most of the good one-liners are doled out to the supporting players rather than to Dangerfield, who goes ahead and rolls his eyes anyway. He's a good sport about it, but his fans are going to wish instead for one of those "concert" movies, such as the ones that showcase Richard Pryor. And those without an abiding affection for Dangerfield are going to wonder what the rest of us have been laughing about. [23 Aug 1983, p.C5]
    • 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
    • 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
    • 66 Metascore
    • 50 Bill Cosford
    When the action founders on cliches and implausibilities, there are only the characters to fall back on. And this time, they're papier-mache. [13 May 1983, p.C2]
    • Miami Herald
    • 58 Metascore
    • 50 Bill Cosford
    Under Siege is never at all convincing -- everything about the battleship (except the exterior shots) seems small and understaffed. There are supposed to be 30 bad guys, but they appear to outnumber the crew, and the interior scenes of the battleship's command stations are barely more ambitious than Star Trek's bridge. [12 Oct 1992, p.C3]
    • Miami Herald
    • 72 Metascore
    • 50 Bill Cosford
    It's a movie of surpassing flatness, all surface, all monotone. Pace? It's as if the director, Alan J. Pakula, had dialed in half speed on the first day of shooting and never checked the throttle again. [27 July 1990, p.G5]
    • 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
    • 70 Metascore
    • 75 Bill Cosford
    Roger and Me is a documentary about the effect of auto- plant closings on the Rust Belt city of Flint, Mich., but wait! Don't be scared. This film will not harm you, it will not bore you. In fact, it will leave you charmed and amazed. [13 Jan 1990, p.E1]
    • Miami Herald
    • 69 Metascore
    • 75 Bill Cosford
    This is a story about the banality of evil, and it succeeds all too well -- these people are ordinary, and that's what makes them scary. Guncrazy is, finally, a romance, but not before it's tough as nails and terribly knowing. You won't forget it soon. [13 Feb 1993, p.E5]
    • Miami Herald
    • 54 Metascore
    • 75 Bill Cosford
    This is a silly movie, yes. But since it works as a humorous homage for students of Hitchcock and his B-movie masterpiece, and since it works as a high-grade slasher film for the rest of the audience, there's no hating it. In fact, this is the most likable gore film in years. [04 June 1983, p.D4]
    • Miami Herald
    • 67 Metascore
    • 50 Bill Cosford
    A lot of the charge, the pow and zap of Earl's life seems to be missing. The performance has but a single note, and after the novelty of Newman as cracker wears off, there's not much else there. [13 Dec 1989, p.D1]
    • Miami Herald
    • tbd Metascore
    • 50 Bill Cosford
    In the guise of a loving homage, Making Contact manages to steal shamelessly and for the most part ineptly from its betters -- Close Encounters of the Third Kind, E.T., Poltergeist, Carrie. There is barely an original moment in the film, which is nonetheless almost incomprehensible. [02 Sep 1986, p.B5]
    • Miami Herald
    • 64 Metascore
    • 63 Bill Cosford
    De Niro is solid in a role that requires little more than righteous indignation. The stretch, however, is by Sam Wanamaker in the role of a Los Angeles attorney who specializes in getting his Hollywood clients out of trouble by feeding them names to inform on. Wanamaker himself did 10 years in exile in England rather than answer a congressional subpoena after publicly defending the Hollywood Ten among other witch-hunt victims. The film is worth seeing if only for a look at him in this role -- these days, when the word hero is tossed about with something approaching desperation, Wanamaker gives us a glimpse of the real thing. Maybe he should have directed this one. [15 Mar 1991, p.G5]
    • Miami Herald
    • 68 Metascore
    • 63 Bill Cosford
    Jarmusch is interesting, and funny, even when he's falling flat. And the real unifying agent here, Tom Waits' determinedly bouncy sound track, is full of perverse whimsy; it works a kind of magic on the film. It's a good thing. Night on Earth much needs the magic. [08 May 1992, p.G5]
    • Miami Herald
    • 75 Metascore
    • 63 Bill Cosford
    Minimalist, yes; post-modern self-conscious, to a fault. But giddy, fanciful and at times simply obvious. [21 Nov 1986, p.D10]
    • Miami Herald

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