William Bibbiani

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For 127 reviews, this critic has graded:
  • 70% higher than the average critic
  • 1% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 95 BlacKkKlansman
Lowest review score: 19 Leatherface
Score distribution:
  1. Positive: 78 out of 127
  2. Negative: 14 out of 127
127 movie reviews
    • 63 Metascore
    • 81 William Bibbiani
    Anna and the Apocalypse is a delightful Christmas/horror/comedy/musical hybrid, with a great cast, entertaining gore and a storyline that’s easy to take seriously… even though it’s fundamentally absurd.
    • 49 Metascore
    • 72 William Bibbiani
    It’s a movie about escape rooms that literally kill you, and if you’re willing to buy into that premise, it’s about as good as a movie with that premise could probably be. So, hey, 2019 is looking up.
    • 24 Metascore
    • 41 William Bibbiani
    The lazy gags, wasted supporting cast and unfocused writing make the film an unfunny chore, which evokes but doesn't come close to their earlier comedic outings.
    • 61 Metascore
    • 79 William Bibbiani
    Vice is a funny and vicious political commentary, revealing in clear, thrilling detail a man whom filmmaker Adam McKay considers one of the most insidious and dangerous political figures of the last fifty years. But that viciousness also makes Vice one-sided, even reductive.
    • 55 Metascore
    • 85 William Bibbiani
    It’s a weird and wonderful superhero adventure that strives — and almost succeeds — to be the most epic superhero movie ever made.
    • 66 Metascore
    • 81 William Bibbiani
    Bumblebee is, again and easily, the best “Transformers” movie. Heck, it’s probably the only genuinely good “Transformers” movie, with nary a caveat to be found. But it’s also a lively and earnest 1980s nostalgia trip, made with affection for the era and its characters and its soundtracks and its storytelling styles and, yes, even its toys.
    • 44 Metascore
    • 86 William Bibbiani
    It’s an overpowering world of steampunk delights, almost Miyazakian in its presentation. It’s hard to complain about a path being well-worn when all the sights will make your eyes pop.
    • 37 Metascore
    • 33 William Bibbiani
    It lacks character, it lacks morbidity, it lacks subtext, it lacks suspense. It just kinda lays there like Hannah, but without any of her sinister magic.
    • 38 Metascore
    • 55 William Bibbiani
    If Jennifer Westcott’s animated kids’ movie Elliot the Littlest Reindeer was a Christmas gift, it’d be the toothbrush at the bottom of your stocking. It’s well-intentioned, and you might get some use out of it, but let’s just pray it’s not the highlight of your holiday season.
    • 87 Metascore
    • 92 William Bibbiani
    It’s incredibly thrilling to watch, impressively emotional throughout, and easily the best Spider-Man movie since “Spider-Man 2.”
    • 32 Metascore
    • 45 William Bibbiani
    It’s a straightforward retelling with a confusing design philosophy, disappointing action sequences, weak storytelling and a cast which clearly deserved better material.
    • 70 Metascore
    • 59 William Bibbiani
    Green Book lacks the depth it aspires to, and only works on a very superficial level. Viggo Mortensen and Mahershala Ali give exceptional performances but this message movie fumbles its message.
    • 84 Metascore
    • 65 William Bibbiani
    Widows is so severe and reserved a picture that it never quite works as a thriller, but it’s so mired in conventional thriller storytelling that it never completely works as a serious drama either. But there’s no denying the power of that cast and the particular vision of McQueen, who turns Widows into something truly distinctive… if not necessarily effective.
    • 57 Metascore
    • 82 William Bibbiani
    Instant Family is a decent, involving, endearing story, with funny performances and heartfelt, entirely earned dramatic crescendoes.
    • 60 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.
    • 79 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.
    • 52 Metascore
    • 78 William Bibbiani
    The Crimes of Grindelwald probably had enough plot to drive a four-hour mini-series, but even so, what we get is often absorbing and grand. The sense that this magical world is actually, well, fantastic is finally back in the series.
    • 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.
    • 76 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.
    • 81 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.
    • 26 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.

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