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 Friday the 13th: The Final Chapter
Score distribution:
  1. Negative: 84 out of 384
384 movie reviews
    • 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
    • 24 Metascore
    • 25 Bill Cosford
    Laughs are widely spaced, and hardly seem worth the trouble. [22 Apr 1985, p.D4]
    • Miami Herald
    • 36 Metascore
    • 50 Bill Cosford
    Three O'Clock High is one of those ideas that must have sounded wonderful at one point, and to be fair it still sounds better than the pop-out plots of most teen-explo projects. It turns out, however, to have surprisingly little range. Once the story is under way, there's nowhere for it to go but home room, lunch and out the door. [13 Oct 1987, p.C7]
    • 41 Metascore
    • 50 Bill Cosford
    The movie's as dumb as dirt, but in the early going the action is staged well. The best thing about Tango & Cash is the series of gags to which Stallone has allowed himself to be the target. [22 Dec 1989, p.G10]
    • Miami Herald
    • 16 Metascore
    • 25 Bill Cosford
    Two energetic and wonderfully physical comedians, each among the best of his generation. But in their movie, The Toy, they do not amount to much. Pryor seems unhappy about some of his lines and situations, and well he might. It's hard to know just what Gleason thinks, as he is able to deliver even atrocious dialogue with a misanthropic zest that is always appealing, but he has a right to be embarrassed, too. [20 Dec 1982, p.B7]
    • Miami Herald
    • 62 Metascore
    • 75 Bill Cosford
    For everyone? Clearly not. Greenaway is an acquired taste. Once acquired, he's a pure original, not to be forgotten. X marks the spot. [6 Apr 1990, p.G5]
    • Miami Herald
    • 44 Metascore
    • 63 Bill Cosford
    Firefox is no masterpiece, and it's not even a startling picture within its genre -- Cold War mischief. But it's briskly entertaining and, until the nyet-effect of all those stereotyped Russians catches up with us, even believeable. [21 June 1982, p.B4]
    • Miami Herald
    • 33 Metascore
    • 50 Bill Cosford
    Every now and then, there is even a funny line, as when the wife of one officer insists on joining the force herself: "We can wear matching uniforms, share ammo -- everything that makes a marriage work." [24 Mar 1986, p.D7]
    • Miami Herald
    • 56 Metascore
    • 63 Bill Cosford
    So Doc Hollywood is warm and cuddly and not at all loathsome. It is much better suited to television than to the big screen, though it does serve to showcase Warner, who is attractive and engaging. And durn it all, you just can't hate it. [02 Aug 1991, p.G5]
    • Miami Herald
    • 38 Metascore
    • 50 Bill Cosford
    In the spirit of The Howling and a half- dozen imitators since, My Science Project is salted with in- jokes and sly gags about its subject, beginning with a reference to The Time Machine and extending to far more subtle clues. John Stockwell, as Harlan the hero, is at least as interesting as the rest of the generation of teen-throb actors already widely referred to as the brat pack. [13 Aug 1985, p.B13]
    • Miami Herald
    • 46 Metascore
    • 50 Bill Cosford
    Director Daniel Petrie Jr. does a journeyman job, though he lets the air out of the thing at the end. [26 Apr 1991, p.G5]
    • Miami Herald
    • 40 Metascore
    • 50 Bill Cosford
    Ultimately Three Fugitives is too sweet for its own good. It has moments of real hilarity, and moments of oh-please. Veber, we know, can do better. [27 Jan 1989, p.C5]
    • Miami Herald
    • 35 Metascore
    • 50 Bill Cosford
    Applegate is fun to watch; I'll bet she can act, though nothing here tests her. Stephen Herek may even be able to direct. But on this evidence, who could tell? [08 June 1991, p.E5]
    • Miami Herald
    • 76 Metascore
    • 88 Bill Cosford
    This may be a film for children, but its achievement is no less serious. For only when animation approaches reality this closely does its liberation from reality -- its celebration of a fantasy world in which anything is possible, including talking mice and swashbuckling rats -- have its impact on us. [20 July 1982, p.C6]
    • Miami Herald
    • 67 Metascore
    • 75 Bill Cosford
    Radford's 1984 is a time of relentless oppression in every corner of life, and his images -- corroded, soiled, darkly corrupted -- speak of Orwell as eloquently as the characters. [15 Mar 1985, p.D6]
    • Miami Herald
    • 65 Metascore
    • 63 Bill Cosford
    The great film that The Accused could have been is in there. So is Foster's lovely, measured work, the work of an actress at the top of her art, and this in a supposed "comeback." Yes, darker and more sadistic passages have burdened many lesser movies. But this one has ambition, and this one has this performance. It's a hard movie to like; it's an impossible one to ignore. [14 Oct 1988, p.E1]
    • Miami Herald
    • 66 Metascore
    • 63 Bill Cosford
    It's a gentle, occasionally smart little comedy about what happens when three furry spacemen, eager for female companionship after what seems to have been a long voyage from the planet Jhazzala, land in the backyard swimming pool of a recently jilted manicurist in Southern California's San Fernando Valley. [02 June 1989, p.DW5]
    • Miami Herald
    • 75 Metascore
    • 63 Bill Cosford
    It's about a weird little kid, and it's an engaging mix. It is successful in recreating the frissons of adolescence and in slapping the myths around. The film also sports an ending that is pure tearjerker, but at least it earns the mush. [2 Apr 1986, p.D6]
    • Miami Herald
    • 32 Metascore
    • 63 Bill Cosford
    The Hitcher has a certain weight. It's not junk, and Harmon is neither a hack nor a beginner just taking his genre shot. His movie is arresting in surprising places, and it never really lets us off the hook. There's something here worth seeing, and something about Harmon as well. What will he do next, and can he top this? [27 Feb 1986, p.8]
    • Miami Herald
    • 52 Metascore
    • 25 Bill Cosford
    The Last Boy Scout is a perfect example of what's wrong with Hollywood. The problem is the script, which is awful. [13 Dec 1991, p.G5]
    • Miami Herald
    • 61 Metascore
    • 50 Bill Cosford
    If anything, the 1983 To Be or Not to Be is more tasteless, while a great deal less engaging, than the original. [16 Dec 1983, p.E20]
    • Miami Herald
    • 32 Metascore
    • 38 Bill Cosford
    Chetwynd's design, to show the POW plight in terms as dreary as its reality, works against the movie at almost every point. [20 May 1987, p.D8]
    • Miami Herald
    • 56 Metascore
    • 50 Bill Cosford
    Even at 85 minutes, Throw Momma From the Train seems flabby; it's out of jokes before an hour is up. [11 Dec 1987, p.D5]
    • Miami Herald
    • 69 Metascore
    • 63 Bill Cosford
    Strangely, considering the source, the most appealing aspect of Stakeout is Badham's success with the characters. Dreyfuss and Estevez work well off one another, Stowe and Dreyfuss are a likable couple and there's something approaching depth to most of the people on screen. [7 Aug 1987, p.D5]
    • Miami Herald
    • 53 Metascore
    • 50 Bill Cosford
    Though Rosenthal is slick enough to lure us into the big Rocky climax, his movie isn't serious enough, or good enough, not to leave a bad taste in the mouth after it's over. [27 Mar 1983, p.L4]
    • Miami Herald
    • 53 Metascore
    • 50 Bill Cosford
    The best-developed theme in 2010, in fact, is anti-climax. Many scenes have one, the entire movie seems to be one. And we still don't know what the deal is with that monolith. [7 Dec 1984, p.D1]
    • Miami Herald
    • 73 Metascore
    • 75 Bill Cosford
    It is shameless, and I have the feeling that it is not always wholly honest with us or with its subjects. But it is so well made that we are compelled to forgive its sins. Only a cynic could deny its appeal. [22 Mar 1985, p.D10]
    • Miami Herald

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