William Bibbiani

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For 63 reviews, this critic has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 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: 36 out of 63
  2. Negative: 9 out of 63
63 movie reviews
    • 57 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.
    • 57 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.
    • 65 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.
    • 63 Metascore
    • 78 William Bibbiani
    Unsane is a creepy little thriller, with a concept that could terrify just about anybody, and a plot that wobbles but ultimately stays on the rails. Claire Foy gives a standout performance and Steven Soderbergh’s intimate visual style sells the idea that we are watching something horribly sinister get revealed.
    • 70 Metascore
    • 59 William Bibbiani
    Without a strong guiding hand we’re left with a finely acted, but only adequate biopic, which brushes against greatness and then paints over it.
    • 32 Metascore
    • 21 William Bibbiani
    Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.
    • 36 Metascore
    • 60 William Bibbiani
    It’s a speedy adventure with diverse action set pieces and a mystery that boasts at least one halfway decent twist.
    • 82 Metascore
    • 95 William Bibbiani
    One of Wes Anderson’s best movies, an imaginative and amusing travelogue through incredible settings, populated by wonderful characters, with a lot of heart and even a little insight. You can feel the love radiating off of this movie, like a hug from your own beloved pet.
    • 73 Metascore
    • 78 William Bibbiani
    Dibb’s adaptation will have less of an impact if you aren’t seeing this story play out for the first time, but if you are seeing it for the first time, it’s probably going to break your heart.
    • 46 Metascore
    • 40 William Bibbiani
    It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.
    • 30 Metascore
    • 49 William Bibbiani
    It takes extremely familiar plot points and plays them straight, adding nothing new except the premise - a white American joining the Yakuza - which ultimately has very little to do with how the story unfolds. The film might be a functional crime drama but it’s an incredibly unremarkable one.
    • 31 Metascore
    • 30 William Bibbiani
    Death Wish takes the serious topic of vigilante violence and reduces it to melodramatic hero worship, and it’s not even particularly good at that. The action is forgettable and the plot barely holds together.
    • 53 Metascore
    • 25 William Bibbiani
    Red Sparrow is too disturbing and brutal to be popcorn entertainment, and by trying to make the uncomfortable storylines and interminable torture sequences palatable for the audience, it completely undermines its ability to operate as a serious drama.
    • 66 Metascore
    • 90 William Bibbiani
    It takes real intelligence to make the best dumb jokes. Game Night has plenty of both, combining skilled filmmaking and ridiculous gags in equal measure, and letting the seriousness and silliness play off of each other for maximum effect.
    • 31 Metascore
    • 30 William Bibbiani
    Fifty Shades Freed concludes the trilogy as it began, with a romance you can’t believe in, endless montages of affluence, lousy dialogue, weak plotting, and - admittedly - a heck of a lot of sex.
    • 28 Metascore
    • 49 William Bibbiani
    You won't lose yourself in this haunted house, even though that was supposed to be the whole point. A film about a labyrinth filled with ghosts quickly becomes methodical and familiar, stranding a great cast in an inert supernatural thriller.
    • 75 Metascore
    • 70 William Bibbiani
    The familiar story and underdeveloped characters aren't nearly as magical as the animation, but there's still a lot to enjoy in Mary and the Witch's Flower, even if it's not Hiromasa Yonebayashi's best.
    • 51 Metascore
    • 69 William Bibbiani
    It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn't completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache.

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