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 The Untouchables
Lowest review score: 0 Still Smokin
Score distribution:
  1. Negative: 84 out of 384
384 movie reviews
    • 45 Metascore
    • 50 Bill Cosford
    This is, in other words, an adventure film for the 6-to-12 set, a movie for the void left by Disney's forays into the elusive teen market. All but the most easily frightened children should enjoy it; all but the most easily diverted adults are likely to find it tedious. [01 Aug 1983, p.C6]
    • Miami Herald
    • 35 Metascore
    • 25 Bill Cosford
    Hershey isn't bad in the role of the victim; she looks durable and acts like a survivor. And Furie does throw in a couple of nifty scares between the rapes, which are gratuitous and disturbing. The rest of the film is by-the-numbers B-movie thriller. [09 Feb 1983, p.D6]
    • Miami Herald
    • 44 Metascore
    • 63 Bill Cosford
    It helps that Raw Deal works, for a time at least, as a first-rate cop movie. It is violent to excess -- more graphic by far than Stallone's films, and bloodier, too -- but it's a real movie. [07 June 1986, p.D1]
    • Miami Herald
    • 51 Metascore
    • 63 Bill Cosford
    There is something weirdly appealing about Commando and its self-deprecating celebration of violent excess. [16 Oct 1985, p.D5]
    • Miami Herald
    • 35 Metascore
    • 25 Bill Cosford
    The most remarkable failure of the film is that the principals don't seem even to like each other very much, despite their habit of facing the future arm in arm. There's a lot of cute flesh up on the screen, signifying nothing. [28 June 1985, p.D1]
    • Miami Herald
    • 57 Metascore
    • 38 Bill Cosford
    Two predictable disappointments here (among many): As usual, these high school kids appear in fact to be played by folks who have left college well behind them; and, sadder, Just One of the Guys was directed by a woman -- women filmmakers being a worthy cause under almost any circumstances -- yet betrays no higher consciousness regarding kids and sex roles than Porky's 3. [30 Apr 1985, p.B3]
    • Miami Herald
    • 33 Metascore
    • 0 Bill Cosford
    Not making any sense is not the same as unbelievably dumb, which The Final Chapter pretty much is. [18 Apr 1984, p.6]
    • Miami Herald
    • 25 Metascore
    • 25 Bill Cosford
    Strange as it sounds, the failure of this tawdry little odyssey into mammalia is that it doesn't make any sense. The smallest effort by writer, director or producer could have meant a movie with laughs as well as the capacity to anesthetize adults. [02 Aug 1983, p.C5]
    • Miami Herald
    • 42 Metascore
    • 50 Bill Cosford
    Supergirl was directed by Jeannot Szwarc, whose previous big credit was Jaws II. The two films have something in common beyond their status as sequels to successful originals; both have a curiously flat, almost stale feel about them. And both are as disposable as Supertissue. [21 Nov 1984, p.C1]
    • Miami Herald
    • 72 Metascore
    • 75 Bill Cosford
    Miami Blues is a neat little trick -- funny, tough, scary. This hurts to say, but it wouldn't be so bad to see a Hoke Moseley sequel. [20 Apr 1990, p.G5]
    • Miami Herald
    • 56 Metascore
    • 63 Bill Cosford
    For all its anything-goes, Death Becomes Her never really cuts loose. The director, Robert Zemeckis, had big hits with the three Back to the Future films and with Who Framed Roger Rabbit? Clearly, he's comfortable with pricey effects. But maybe that's all he knows. There's a great, slashing satire inside this movie, whining to be let out. [31 July 1992, p.G5]
    • Miami Herald
    • 71 Metascore
    • 63 Bill Cosford
    There's power in this story, even if much of it does owe to a greatly sentimentalized time rather than to genuine virtue. In its new, leaner version, Ward's film does seem twitchy at times -- we're not always sure how the characters got to where they are, emotionally or physically. But it's sweet, too. [14 May 1993, p.G4]
    • Miami Herald
    • 41 Metascore
    • 50 Bill Cosford
    But whether even kids will be able to take The Outsiders seriously is a hard question. Whether by fidelity to his source or by director's embellishments, Coppola has come up with a story about tough kids who appreciate sunsets and recite Robert Frost from memory, about members of a mid-American urban underclass who ponder their situations with the dispassionate acumen of sociologists. The Outsiders is about "greasers" who are not greasy, and it seems likely that even kids will see through it. [29 March 1983, p.5]
    • Miami Herald
    • 17 Metascore
    • 25 Bill Cosford
    Though My Tutor contains many scenes meant to provide comic relief, there is only one that works: Hired to deflower Bobby in the early going, the local drive-in slattern is caught flagrante delicto in a well-used backseat by her fiancee, the leader of a motorcycle gang. "He hates it when I do this," she says to Bobby, and one wants to love this movie...Otherwise, alas, My Tutor is witless. It seems to take forever for Bobby to learn to conjugate, and he's pretty slow at French, too. As for the double standard, note that simple role reversal -- older man deflowering teenage girl -- produces not a softcore sex comedy, but a crime drama. And that's a different genre altogether. [23 May 1983, p.6]
    • Miami Herald
    • 55 Metascore
    • 63 Bill Cosford
    And so it goes, cleverly, amiably -- infidelity made fun. Wilder seems to have a firm hand on the controls, and the movie works best when he indulges his talent for physical comedy, which is considerable. It works less effectively when we have time to think about what is going on, and how many times we have seen it before, but the pace is quick enough that these times are few. [17 Aug 1984, p.10]
    • Miami Herald
    • 91 Metascore
    • 50 Bill Cosford
    It is long. Very, very long...And it feels its length, feels every bit the 190 minutes of it. This is a problem for a movie. A movie can be any length at all if its audience remains unaware of its artifice, remains suspended in time. But in The Right Stuff, we are always aware that there's a movie going on, rather than lives on a screen; by the end, there is the feeling of having been dragged through recent history, feet first. The Right Stuff is exciting from time to time; it has its jolts and its snaps and its nostalgic tweaks. But there is more to a roller coaster than a bumpy ride, and The Right Stuff does not thrill. [16 Oct 1983, p.L1]
    • Miami Herald
    • 40 Metascore
    • 50 Bill Cosford
    One has the sense before Dune is well under way that it is the kind of film that may reveal itself over several viewings -- and certainly, there seems to be $47 million worth of things to look at. But fidelity to the source can be a trap, and Lynch fell into it; his movie is big and splashy and nearly nonsensical. [14 Dec 1984, p.E1]
    • Miami Herald
    • 64 Metascore
    • 63 Bill Cosford
    Flight of the Navigator is a cheerfully unaccomplished little movie, a kind of E.T. for kids that recalls the Disney live-action films of a generation ago. E.T is not the only movie borrowed from here; there are echoes of Back to the Future and most of the rest of the last decade's science-fiction fantasies, though Flight of the Navigator is generous in acknowledging its sources. It's a happy knockoff. [31 July 1986, p.C5]
    • Miami Herald
    • 63 Metascore
    • 75 Bill Cosford
    It's an A-list thriller directed by Barbet Schroeder (Reversal of Fortune, Barfly ) and graced with wonderful performances by Bridget Fonda and Jennifer Jason Leigh. [14 Aug 1992, p.G5]
    • Miami Herald
    • 52 Metascore
    • 63 Bill Cosford
    Harry is more fun, and he is less the fascist. Considering the genre -- bloody crimebusting and to-hell-with-your-rights- pal -- these are no small blessings. [12 Dec 1983, p.C6]
    • Miami Herald
    • 68 Metascore
    • 50 Bill Cosford
    It's a bloodless film, however; a spy story that actually drags for long stretches in the middle. And even though it's based on fact, there's rarely any drama in it. These are odd failures. [25 Jan 1985, p.D6]
    • Miami Herald
    • 75 Metascore
    • 88 Bill Cosford
    Frears displays a complete mastery of the mechanics of a thriller, such that his movie is terrifying even when it pauses for breath. [08 Feb 1985, p.D8]
    • Miami Herald
    • 67 Metascore
    • 75 Bill Cosford
    FernGully -- The Last Rainforest is pretty much what you'd expect, only better. It's an animated feature aimed straight at kids and bulging with environmental consciousness, well made and just scary enough to get its point across. [10 Apr 1992, p.G5]
    • Miami Herald
    • 75 Metascore
    • 88 Bill Cosford
    Frears uses the story of one relationship, intimate but exploitive, to mirror England's racial strife. By turns tender and angry, it's a film of distinctive, commanding voice. [28 Mar 1986, p.D2]
    • Miami Herald
    • 58 Metascore
    • 50 Bill Cosford
    The single redeeming feature of Child's Play is the manner in which the doll is slowly transformed into semi-human form. Scene by scene it turns into a half-pint, rubbery version of Jack Nicholson. And that's scary. [09 Nov 1988, p.D6]
    • Miami Herald
    • 51 Metascore
    • 50 Bill Cosford
    A decent cast, led by Peter Weller (as the geologist/hero) and Rambo vet Richard Crenna (as Doc), grapples gamely with the script and hauls down the paychecks. [21 Mar 1989, p.C7]
    • Miami Herald
    • 42 Metascore
    • 63 Bill Cosford
    Robocop 2 is as funny as it is loud, and nearly as smart as it is gross -- though the latter quality does win out, particularly in the climactic brain-squash sequence. [22 June 1990, p.G5]
    • Miami Herald
    • 61 Metascore
    • 75 Bill Cosford
    The Monster Squad is schoolyard-clever and cut to the rhythms of Saturday morning TV, within which limitations it's actually a lot of fun. It's a swell movie for kids under 13. [20 Aug 1987, p.C8]
    • Miami Herald
    • 59 Metascore
    • 63 Bill Cosford
    What goes on in Streets of Fire is not quite stupid -- it's saved from that by the remarkable love for style of its director, Walter Hill -- but the film doesn't show an intelligence to match its style, either. [04 June 1984, p.C6]
    • Miami Herald
    • 48 Metascore
    • 50 Bill Cosford
    Basically, it's an inversion of an already proven formula, a kind of Fatal Attraction's Revenge, with every bit of business save the parboiled rabbit, and you can see the ending coming up Main Street. [08 Feb 1991, p.G5]
    • Miami Herald

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