William Bibbiani

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For 104 reviews, this critic has graded:
  • 68% higher than the average critic
  • 1% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 95 Isle of Dogs
Lowest review score: 19 Leatherface
Score distribution:
  1. Positive: 61 out of 104
  2. Negative: 13 out of 104
104 movie reviews
    • 68 Metascore
    • 76 William Bibbiani
    This isn’t a glorious rebirth, it’s a functional facsimile, and it’s a wholly satisfying piece of slasher entertainment regardless.
    • 63 Metascore
    • 78 William Bibbiani
    It may not be a great movie, but Timotheé Chalamet delivers a performance so vibrant that it almost rubs off on everything else, and he’s matched in every scene by Steve Carell, Maura Tierney and Amy Ryan.
    • 53 Metascore
    • 58 William Bibbiani
    As directed by Ari Sendal (“The Duff”), the film keeps its low-key, harmless energy at a steady simmer. Every once in a while a joke is funnier than you might expect, or a monster looks surprisingly spooky, but overall this is a safe, by the numbers Halloween family film.
    • tbd Metascore
    • 28 William Bibbiani
    The imagery is creepy and the pacing is brisk, but the story is a faded carbon copy of other, better serial killer thrillers, and the new additions to the Hellraiser mythology rob the Cenobites of their deviant allure and otherworldly menace.
    • 82 Metascore
    • 89 William Bibbiani
    The film has a stirring emotional honesty, and an impressive intelligence about its subject matter. It’s a film that may one day be required viewing for adolescents, and it might just change them the way that these events change its protagonist.
    • 25 Metascore
    • 20 William Bibbiani
    It’s in love with its location and couldn’t care less about the characters. Even the kills are rote disappointments, at least by slasher-enthusiast standards.
    • 60 Metascore
    • 81 William Bibbiani
    Bad Times at the El Royale is vibrant motion picture, in a way few films are nowadays. One might even call it indulgent, although “decadent” is probably more accurate.
    • 58 Metascore
    • 70 William Bibbiani
    The Oath is a film of its time, and that immediacy is both its strength and its downfall.
    • 78 Metascore
    • 80 William Bibbiani
    The Sisters Brothers is almost as aimless as its title characters, but it's worth the journey. John C. Reilly and Joaquin Phoenix shine as wild west hitmen who are just smart enough to know they should be smarter, whose quest leads them in unexpected, funny, and surprisingly emotional directions.
    • 57 Metascore
    • 79 William Bibbiani
    The House With a Clock in Its Walls is easily Eli Roth’s best motion picture, and that’s not an attempt to damn the film with faint praise. It’s a spooky and amusing piece of family-friendly Halloween cinema, sharply produced and mostly effective, told with skill and panache.
    • 67 Metascore
    • 87 William Bibbiani
    A Simple Favor is a sharply dressed comedy-thriller, and the screenplay is even sharper. Anna Kendrick and Blake Lively dominate the screen in two of their best and funniest roles, and director Paul Feig is in rare form, using spry humor to make this subversive and creepy thriller more unusual and unpredictable.
    • 50 Metascore
    • 40 William Bibbiani
    The film’s failure to modulate its tone, its intensity and its messaging makes it a dreary, one-note production.
    • 81 Metascore
    • 77 William Bibbiani
    It’s a deliberately paced, ultraviolent, outlandishly stylish delivery system for Nicolas Cage’s wild-eyed acting style, and a thoughtful meditation about why Death Metal totally rules.
    • 48 Metascore
    • 40 William Bibbiani
    There are lots of jokes, even though they’re only sporadically funny. There are lots of action sequences, even though they’re edited haphazardly and sometimes hard to follow. There are lots of monsters, even though the more we learn about them, the harder it is to care.
    • 72 Metascore
    • 85 William Bibbiani
    Schnabel creates a natural, immersive motion picture that conveys the experience of being, living with, and painting like Vincent Van Gogh.
    • 29 Metascore
    • 67 William Bibbiani
    Whether you find it exciting or troubling might vary from person to person, but either way Jennifer Garner delivers a standout performance that demands recognition, and will hopefully lead to better action movie roles for the actor in the future.
    • 46 Metascore
    • 55 William Bibbiani
    It’s a spooky, entertaining, but totally goofy entry in “The Conjure-verse.”
    • 62 Metascore
    • 93 William Bibbiani
    Let the Corpses Tan is high-octane high art. It’s incredibly violent. It’s unexpectedly playful. It’s strikingly sumptuous. And its depths could easily be mistaken for shallow stylistic overtures. But if you examine the surface more closely, you’ll discover it’s impressively smart. It may be one of the most rapturous movies of its kind.
    • 67 Metascore
    • 40 William Bibbiani
    The Little Stranger has all the disquieting atmosphere of a total void, and like a total void, not a lot happens in it. You might get sucked into the cold, but you’ll grow bored quickly.
    • 38 Metascore
    • 45 William Bibbiani
    Mile 22 is a straight-to-video action movie that got the big budget treatment, and not in the good, cheesy, fun way. It’s an undercooked story with characters who don’t know how to express themselves without yelling, and it’s full of laughable plot points.
    • 35 Metascore
    • 51 William Bibbiani
    Kin
    All the genre elements play like an afterthought, and that's frustrating because the rest of the movie isn't quite spry enough to stay interesting without action, adventure, or at least little more weirdness.
    • 29 Metascore
    • 25 William Bibbiani
    A-X-L may be a dog, but he’s designed to be a weapon, so he looks like nightmare fuel. And nightmare fuel usually isn’t the best centerpiece for a family-friendly flick.
    • 27 Metascore
    • 79 William Bibbiani
    The Happytime Murders may not be a timeless classic on par with Roger Rabbit, but it’s more interesting and nuanced than its raunchy, violent humor suggests. The puppeteering is fantastic, the characters are interesting, and although the story isn’t ingenious the jokes are usually funny.
    • 51 Metascore
    • 50 William Bibbiani
    Puppet Master: The Littlest Reich almost works. The dialogue and performances are unusually good for this kind of material, and the gore effects are shocking. But the changes the filmmakers made to this franchise have unpleasant consequences, which dramatically reduce the film's entertainment value, and arguably rob these iconic puppets of the very characteristics that made them special.
    • 63 Metascore
    • 79 William Bibbiani
    Alpha comes close to greatness, specifically that rare kind of greatness that we reserve for timeless epics, or at least gorgeous Frank Frazetta illustrations. The story and protagonist aren’t quite rich enough to take it to the next level.
    • 83 Metascore
    • 95 William Bibbiani
    One of Spike Lee’s best movies. With a dynamite cast, sharp script and pointed humor that underscores real-life, disturbing horrors, it’s an entertaining crime drama that amuses and shocks and invites the audience into a complex and impassioned conversation about the power of racism - and the moving image - to influence our lives.
    • 46 Metascore
    • 73 William Bibbiani
    The Meg is a big, dumb shark movie that takes itself a little too seriously, and that’s the point. Jason Statham is perfect for the material, the shark attacks are entertainingly broad, and the supporting cast brings personality to the otherwise straightforward script.
    • 60 Metascore
    • 40 William Bibbiani
    A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.
    • 39 Metascore
    • 75 William Bibbiani
    The Darkest Minds is smart. It has a lot to convey to its young audience, and the strong cast does everything in their power to illustrate those themes and to bring their characters to earnest, believable life. But it’s not quite thrilling enough to sneak its mission statements under anyone’s noses, so it plays a bit more like a manifesto than a sci-fi thriller.
    • 66 Metascore
    • 78 William Bibbiani
    It’s a kind and thoughtful drama that respects its characters and has faith in them, letting them live and breathe and find the meaning in their own lives.

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