William Bibbiani

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For 78 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 95 The Killing of a Sacred Deer
Lowest review score: 19 Leatherface
Score distribution:
  1. Positive: 46 out of 78
  2. Negative: 10 out of 78
78 movie reviews
    • 82 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.
    • 50 Metascore
    • 71 William Bibbiani
    The Equalizer 2 makes more-or-less the same impact as “The Equalizer.” It’s a reasonably satisfying mid-budget action thriller, with slick style and an intriguing hero, who only uses violence when necessary, and as a means of redemption for himself and his community.
    • 53 Metascore
    • 22 William Bibbiani
    The scares are ridiculous, the plot makes no sense, and you’ll probably spend the whole running time wishing someone would spill a drink on their keyboard and erase the movie's hard drive.
    • 70 Metascore
    • 40 William Bibbiani
    Despite the film’s good intentions it’s an underwhelming adaptation of Shakespeare’s play, with cute side gags that make more of an impression than the characters or the story.
    • 66 Metascore
    • 69 William Bibbiani
    Joaquin Phoenix gives an admirable performance as an interesting artist, whose life story otherwise gets the short shrift by this conventional drama with a frustratingly narrow focus.
    • 51 Metascore
    • 81 William Bibbiani
    Living up to the legacy of Die Hard is a tall order, and Skyscraper never reaches those heights. But it's a gigantic and silly blockbuster matinee of a movie, with likable performances, absurd action sequences, and a heck of a lot of duct tape.
    • 40 Metascore
    • 75 William Bibbiani
    Fireworks takes you on that little journey. It may affect you deeply, or it may just come and go, a fizzling sentimental aside in an otherwise hectic day. But it’s hard to deny that it approaches its fantastical story with maturity and grace, and a thoughtfulness about what it would truly mean to leap into a “what if” and seriously consider never coming out again.
    • 54 Metascore
    • 81 William Bibbiani
    The First Purge completely earns its action-packed and rousing finale, but getting there certainly takes a while.
    • 49 Metascore
    • 49 William Bibbiani
    Berg’s life is a natural for the movies, but it’s difficult to imagine how the film we got out of it turned out so dramatically inert.
    • 63 Metascore
    • 80 William Bibbiani
    Damsel is viciously whimsical, if such a thing is possible, and it’s thrillingly subversive. But the punchline comes early, and it’s only repeated as the film progresses.
    • 61 Metascore
    • 45 William Bibbiani
    All the human strife, all the political squabbling, comes across like an excuse to be “badass” but high-minded about it. The film’s shootouts are “cool” but lack anything resembling a meaningful perspective, so when the characters talk about the political rationales for their violence, it rings hollow. And when the bullets fly, nothing else seems like it ever mattered.
    • 56 Metascore
    • 70 William Bibbiani
    It’s a well-intentioned comedy with funny performances and a handful of great humorous set pieces. If it feels as though it’s three or four different movies fighting each other for dominance, then at least those movies are all, in their own separate ways, relatively entertaining and amusing.
    • 57 Metascore
    • 45 William Bibbiani
    Bernard and Huey isn’t particularly funny, although the script does tend to pump out a zinger once in a while. It isn’t particularly tragic, because the plight of these characters is well-earned.
    • 58 Metascore
    • 71 William Bibbiani
    It’s a stylish and amusing thriller, but a hollow one, with mostly broad-stroke characters populating an otherwise ultra-detailed fictional criminal underworld. Fans of crime movies like John Wick will be entertained by the big ideas and backstories, but they probably won’t form the kind of connection they have to other, better films of its ilk.
    • 87 Metascore
    • 93 William Bibbiani
    Hereditary is one of the scariest movies around, and a spectacular showcase for actors Toni Collette and Alex Wolff. The film’s subtle shocks and realistic drama combine to create a dreamlike atmosphere, drenched in psychological horror, which builds and builds to a climax that you won’t forget anytime soon.
    • 61 Metascore
    • 89 William Bibbiani
    Ocean’s 8 is the most satisfying installment in the franchise. The all-star cast is impeccable, the shift in focus yields sharp insights, and the heist itself is wily and enjoyable. What the film lacks in suspense it makes up for in style, and that style has undeniable substance.
    • 66 Metascore
    • 82 William Bibbiani
    Upgrade is an intense sci-fi action thriller with big ideas, incredible action and a remarkable lead performance.
    • 49 Metascore
    • 39 William Bibbiani
    The film undercuts its admiration of Mary Wollstonecraft Shelley by judging, harshly, her life choices and reducing her timeless masterpiece to simplistic metaphor for a lousy marriage. Mary Shelley deserves better than Mary Shelley.
    • 62 Metascore
    • 79 William Bibbiani
    It’s gorgeous, it’s distinctive, it’s quirky, it’s definitely about mermaids, and it might just make you question your sanity.
    • 42 Metascore
    • 72 William Bibbiani
    Breaking In is a clever twist not the home invasion genre, with a dynamic lead performance by Gabrielle Union as a mother protecting her family. It’s a crowd-pleasing thriller, good but never quite great, because the story collapses under scrutiny. The film is trying to be clever and yet it relies on big, and obvious gaps in logic, but those flaws probably won't ruin the experience.
    • 46 Metascore
    • 51 William Bibbiani
    A few sharp moments can’t compensate for a film that feels half-developed, and only half-heartedly told. Like its protagonist, Bad Samaritan isn’t quite as bad as it could have been, but it’s not good either.
    • 42 Metascore
    • 48 William Bibbiani
    The cast does the best they can to save the weak material, and it’s interesting to see how the filmmakers are trying to make this off-putting concept work. But it's not funny enough, or even weird enough, to get away with it.
    • 41 Metascore
    • 46 William Bibbiani
    Even though they sometimes land a great joke, the troopers aren’t inherently amusing or even all that likable this time around. They’re undeniably corrupt cops, even if they are relatively benign about it. Super Troopers 2 still manages to be funny quite a bit of the time, but the word “funny” needs an asterisk next to it, warning that the laughs might carry with them a certain amount of guilt.
    • 62 Metascore
    • 77 William Bibbiani
    It’s a sweet story about someone who doesn’t know what their story is. It’s a funny film about seriously figuring yourself out. It’s a serious film about pain, in which no one intentionally inflicts it. Craig Johnson might not have made a particularly strange film, but it’s a particularly kind one, and it’s worth loving.
    • 35 Metascore
    • 41 William Bibbiani
    Blumhouse’s Truth or Dare is what happens when high concepts crash. The audience is here to watch people play a deadly game of Truth or Dare, and yet the film’s truths and dares are unremarkable, and the players are mostly boring.
    • 84 Metascore
    • 92 William Bibbiani
    This is a film about pain, and it forces the audience to live in and work through that pain. And it’s absolutely worth the effort. By the end it’s a transformative experience.

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