William Bibbiani

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For 112 reviews, this critic has graded:
  • 69% higher than the average critic
  • 1% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 95 Stan & Ollie
Lowest review score: 19 Leatherface
Score distribution:
  1. Positive: 68 out of 112
  2. Negative: 13 out of 112
112 movie reviews
    • 58 Metascore
    • 89 William Bibbiani
    If Overlord was a video game, it would be a great one. It just happens to be a movie, and it’s a great one of those too. It hits all old-school genre tropes so hard that they make new noises, and infuses cheesy grindhouse thrills with all the “you are there” intensity of a great interactive experience.
    • 81 Metascore
    • 95 William Bibbiani
    Few filmmakers are as playfully cynical as the Coens, and in The Ballad of Buster Scruggs they haven’t just made a funny, sentimental, exciting and blistering western, they’ve also unlocked their entire filmography for anyone who may have missed the connections before. And there’s no going back now. It’s the Coen Bros.’ world, and good luck to anyone who lives there.
    • 69 Metascore
    • 90 William Bibbiani
    Uniquely violent, stylish, and engaging, The Night Comes For Us is an exciting prospect that delivers on all fronts.
    • 53 Metascore
    • 79 William Bibbiani
    Audiences looking for quality stories about faith and patriotism will find Indivisible to be a thoughtful and satisfying motion picture. Although it never reaches the emotional and cinematic zeniths that might make it great, it does what it sets out to do, by offering hope and guidance to audience members who need it. And that’s kinda great in itself.
    • 64 Metascore
    • 64 William Bibbiani
    Luca Guadagnino’s Suspiria is an interesting intellectual exercise, too ambitious to be ignored yet too overbearing to be enjoyed. Despite moments of genuine terror the film is less interesting in being scary than it is in humanizing what scares us, but once we know more about the witches in Suspiria, the less intriguing they are.
    • 43 Metascore
    • 79 William Bibbiani
    The Girl in the Spider’s Web is such an absorbing airplane novel of a movie that you half expect to walk out of the theater and into O’Hare International. Your flight was on time, and the turbulence was totally badass.
    • 73 Metascore
    • 95 William Bibbiani
    Stan & Ollie muddles up the history a bit, as all biopics do, but it’s a film without any meaningful flaws. Every character is wonderfully realized, every performance is spectacular. You’ll laugh all the way through, you’ll cry by the end, and you’ll see the brilliance of Laurel & Hardy come back to life via the very same cinematic magic that made them legends in the first place.
    • tbd Metascore
    • 48 William Bibbiani
    A film that could have been taken seriously as a drama — a politically one-sided but nonetheless competent drama — devolves into ghoulish sideshow grotesquery.
    • 67 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.
    • 51 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.
    • 71 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.

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