For 51 reviews, this critic has graded:
  • 76% higher than the average critic
  • 1% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Bob Thomas' Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Prizzi's Honor
Lowest review score: 25 On Deadly Ground
Score distribution:
  1. Positive: 40 out of 51
  2. Negative: 4 out of 51
51 movie reviews
    • 71 Metascore
    • 63 Bob Thomas
    The ecological message is commendable, and there are some amusing situations with the space travelers in contemporary scenes. Nimoy's direction keeps a lively pace and the special effects are state of the art, as always. [08 Jan 1987]
    • The Associated Press
    • 78 Metascore
    • 75 Bob Thomas
    Miss Plowright's performance is an absolute marvel. Her transition from the acid-tongued widow to a wisely compassionate woman warms the heart. [20 July 1992]
    • The Associated Press
    • 49 Metascore
    • 75 Bob Thomas
    An extremely pleasant, supernatural comedy. [12 Nov 1984]
    • The Associated Press
    • 80 Metascore
    • 100 Bob Thomas
    In terms of human understanding, the film is worth dozens of documentaries on deafness. [10 Dec 1986]
    • The Associated Press
    • 68 Metascore
    • 63 Bob Thomas
    Richard Donner (Superman) directed with an expert eye for action but impaired vision for logic. The climax comes with a samurai-like duel between Gibson and Busey while Glover and fellow officers watch. This is the crowning absurdity. [03 Apr 1987]
    • The Associated Press
    • 33 Metascore
    • 25 Bob Thomas
    Clumsily derivative, completely predictable and leadenly directed by the star himself. [23 Feb 1994]
    • The Associated Press
    • 63 Metascore
    • 75 Bob Thomas
    Robin Williams discards his Morkisms for a credible portrait of the fated hero, and the rest of the cast is remarkably good, especially Mary Beth Hurt as his wife, Glenn Close as his mother and John Lithgow as the transsexual former tight end of the Philadelphia Eagles. [23 July 1982]
    • The Associated Press
    • 57 Metascore
    • 75 Bob Thomas
    The solution is a bit pat and anticlimactic, but it is heartening to find a movie that concerns itself with real and present social issues. [21 Oct 1982]
    • The Associated Press
    • 65 Metascore
    • 75 Bob Thomas
    Instead of exploring new territory in the animated art, the film harks back to the tried-and-true Disney formula. The result is sentimental, predictable and totally endearing. [27 July 1981]
    • The Associated Press
    • 70 Metascore
    • 50 Bob Thomas
    CUTTER AND BONE can't decide whether to be a buddy movie, a menage-a-trois drama, or a murder movie, and hence fails at all three. Too bad, because Czech-born Ivan Passer has an obvious talent for creating mood and atmosphere.
    • The Associated Press
    • 55 Metascore
    • 50 Bob Thomas
    Light of Day flounders because of Schrader's simplistic symbolism: the rebellious children, the unhearing mother, the lifeless father. The story limps from one predictable scene to the next. [17 Mar 1987]
    • The Associated Press
    • 66 Metascore
    • 75 Bob Thomas
    The Pirates of Penzance is not for everyone. Gilbert and Sullivan purists, beware. Rock fans, watch out. But for those who like a rollicking good show, full of inspired silliness and performed in high style, by all means go. [07 Mar 1983]
    • The Associated Press
    • 79 Metascore
    • 50 Bob Thomas
    The talk is mostly in grunts and whoops, and the film sometimes reaches the brink of a Mel Brooks travesty, but never falls over. [18 Jan 1982]
    • The Associated Press
    • 48 Metascore
    • 88 Bob Thomas
    In his first major film without partner John Belushi, Aykroyd proves a film comedian of first rank. [9 May 1983]
    • The Associated Press
    • 61 Metascore
    • 63 Bob Thomas
    The original screenplay by Stanley Weiser (based on a story by Weiser and Lasker) offers intriguing situations, and Jonathan Kaplan's direction hurries the action along. Perhaps because he has covered the same territory before, Broderick's performance is surprisingly flat. Helen Hunt fares better, especially in her scenes with Willie. [18 June 1987]
    • The Associated Press
    • 57 Metascore
    • 75 Bob Thomas
    John Frankenheimer is an old hand at directing this kind of macho confrontation, and he masterfully builds the tension. The bone-chilling terrain (actually Canada) adds immeasurably to the film's effectiveness. [20 Mar 1990]
    • The Associated Press
    • 84 Metascore
    • 100 Bob Thomas
    A marvelous mixture of genders, a blatant attack on sexual attitudes that is both challenging and hilarious. [19 Feb 1982]
    • The Associated Press
    • 58 Metascore
    • 88 Bob Thomas
    Oliver and Company is the most fully realized animated film from the Disney Co. since 101 Dalmatians. It is inspired entertainment in all departments: characters, animation, comedy, plot and voices. [28 Nov 1988]
    • The Associated Press
    • 33 Metascore
    • 63 Bob Thomas
    Soul Man isn't designed for realism, nor does it aim at any lofty moral. It was concocted strictly for laughs, and it delivers an adequate number. [24 Dec 1986]
    • The Associated Press
    • 49 Metascore
    • 63 Bob Thomas
    Director Daniel Petrie keeps the whimsy under control most of the time, and he draws evenhanded work from the actors. The script by Tom S. Parker and Jim Jennewein, based on Neil Tolkin's story, rarely rises above the level of comic-strip balloons, but that's as it should be. [23 Dec 1994]
    • The Associated Press
    • 44 Metascore
    • 50 Bob Thomas
    The creators of Superman III give us a picture puzzle of assorted plots that never meld coherently. [13 June 1983]
    • The Associated Press
    • 37 Metascore
    • 50 Bob Thomas
    Except for two or three explosive moments, the film plods along to the expectable, heartwarming climax, never achieving the potential of a new star in a time-proven role. [27 May 1985]
    • The Associated Press
    • 91 Metascore
    • 88 Bob Thomas
    Director Peter Yates brings vitality to Steve Tesich's endearing script, avoiding any temptation for cheap shots. The cast is mostly unknown and awfully good, especially Dennis Christopher as a Hoosier turned Italian and Paul Dooley as his exasperated parent. [16 July 1979]
    • The Associated Press
    • 70 Metascore
    • 88 Bob Thomas
    As with the best of memoirs, the film bears the verisimilitude of true art. It is a movie filled with small marvels, a welcome addition to the prestige films of fall. [02 Oct 1984]
    • The Associated Press
    • 70 Metascore
    • 75 Bob Thomas
    Scott lends credibility to the far-fetched happenings, and director Peter Medak manipulates the standard scare tactics with skill. [07 Mar 1980]
    • The Associated Press
    • 84 Metascore
    • 100 Bob Thomas
    Huston is the unquestioned master of the greed-fueled plot, crammed with treacherous types aiming to destroy each other. He is in top form once more, presenting a gallery of low-lifes that could even baffle Sam Spade. [17 June 1985]
    • The Associated Press
    • 29 Metascore
    • 63 Bob Thomas
    A Neil Simon comedy it isn't, although some bright one-liners shine through. [18 March 1985]
    • The Associated Press
    • 63 Metascore
    • 75 Bob Thomas
    The story of centerfold girl Dorothy Stratton has been told before, in a television movie and countless articles. But Fosse gives it new and immediate strength through his superior talent as a filmmaker. [7 Nov 1983]
    • The Associated Press
    • 70 Metascore
    • 75 Bob Thomas
    There are lots of laughs in the script by Valerie Curtin and Barry Levinson, as well as wry insights into modern relationships. [20 Dec 1982]
    • The Associated Press
    • 23 Metascore
    • 38 Bob Thomas
    The situation might have produced a funny, heartwarming movie, but not in the hands of director Bob Clark ("Porky's," "Rhinestone") and writers James Gregory Kingston and Denis and John Hamill. Every plot turn is predictable, the characters are either true-blue or rascals and the humor is labored. [18 Feb 1985]
    • The Associated Press

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