William Bibbiani

Select another critic »
For 259 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 0.7 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 96 Mrs. Harris Goes to Paris
Lowest review score: 10 Zero Contact
Score distribution:
  1. Negative: 32 out of 259
259 movie reviews
    • 75 Metascore
    • 59 William Bibbiani
    Puss in Boots isn’t on a rousing adventure; he’s performing the fairy-tale equivalent of grasping at miracle cures while he’s dying from a terminal illness. And although the film is funny in fits and starts, and exciting in fits and starts, the ultimate takeaway is weirdly sobering.
    • 66 Metascore
    • 72 William Bibbiani
    If you can get swept up in a big old-fashioned war picture, Devotion has some of the goods. It’s an incredibly handsome production, and the central performance by Jonathan Majors, as real-life aviator Jesse L. Brown, is layered and impressive.
    • 71 Metascore
    • 80 William Bibbiani
    It’s a diabolically odd horror comedy that keeps the giggles at a steady simmer until, eventually, they’re just right.
    • 76 Metascore
    • 73 William Bibbiani
    Benson and Moorhead direct and shoot their film smartly, but their performances are what ground it and give it shape. It’s Benson’s moping alienation and Moorhead’s desperate need to believe in something — no matter how nonsensical, even if he knows he’s making it up himself — that resonate.
    • 45 Metascore
    • 73 William Bibbiani
    It’s attractively filmed and, mostly, solidly performed, taking some historical liberties but otherwise getting the gist of the tale out in the open for new generations to discover and appreciate.
    • 47 Metascore
    • 40 William Bibbiani
    The film eventually provides some memorable gore but the ultimate conclusion is unconvincing and perfunctory.
    • 55 Metascore
    • 80 William Bibbiani
    It may not provide the rush of adrenaline that many people seek from their horror movies but Mr. Harrigan’s Phone is a smart and elegant piece of creepiness.
    • 68 Metascore
    • 92 William Bibbiani
    This isn’t just a great horror story; it’s genuinely scary. You may be able to recognize familiar elements in its DNA, but it’s mutated into something distinct and unsettling. What a showcase of shocks. What a devilish debut.
    • 57 Metascore
    • 45 William Bibbiani
    Zombie’s film, though clearly sweet and well-intentioned, seems only partially formed, a Frankenstein monster with only half the parts.
    • 61 Metascore
    • 78 William Bibbiani
    Polsky’s film digs into the rot in his characters’ psyches for a time but gradually climbs back out again, perhaps in an attempt to put their madness in a larger context social context. But mostly the final act of the film comes across like clunky, though well-earned, moralizing.
    • 46 Metascore
    • 65 William Bibbiani
    Medieval struggles as a work of historical fiction, but when the action mounts, it’s immersive and exciting.
    • 50 Metascore
    • 79 William Bibbiani
    Clerks III is serious to a minor fault and breezy to a minor fault. It’s got all the same laid-back, chill vibes cinema that Smith is well-known for, and the same immature approach to genuine maturity that he’s also known for, with a new sense of emotional severity that makes it harder to laugh than it probably should be.
    • 73 Metascore
    • 93 William Bibbiani
    Pearl isn’t just great; it retroactively makes its predecessor great, too. It’s a handsome and sad horror drama, with scenes and shots and performances that will make you wonder if you’re supposed to laugh, cry or shriek. Until you realize that the best part of this film is that you are absolutely supposed to do all three. And you probably will.
    • 25 Metascore
    • 24 William Bibbiani
    The whole film feels like filler, an empty space waiting to be padded with plot points, characters and jokes that are so generic it was incredibly easy to transform them into product placement.
    • 45 Metascore
    • 80 William Bibbiani
    Avery’s film is a solid piece of genre entertainment, grounded by excellent performances, and clever enough to find a new way to present the same old tropes. Like an old hunk of junk fixed and cleaned up, and made into something new again, and worth paying full price for.
    • 54 Metascore
    • 73 William Bibbiani
    Beast is a toothsome survival thriller, competently crafted and engagingly realized. There are far worse ways to spend 93 minutes in a movie theater, but audiences hankering for something with some actual substance may be left feeling hungry on mane.
    • 50 Metascore
    • 80 William Bibbiani
    James Ponsoldt (“The Spectacular Now”) keeps his film permanently trapped in a liminal space between childhood and adolescence, where magic is real but intangible and largely metaphoric.
    • 58 Metascore
    • 65 William Bibbiani
    Whether you laugh with I Love My Dad or never shake the queasy feeling in your stomach, Morosini’s film is remarkably sensitive and eerily confessional.
    • 71 Metascore
    • 94 William Bibbiani
    Prey is a glorious monster flick, a sly revisionist Western and a really cool “Predator” sequel for viewers who don’t mind a little fan service here and there.
    • 66 Metascore
    • 72 William Bibbiani
    Although it’s extremely competent, it fails to add a new perspective to the story, or a distinctive approach to its telling.
    • 70 Metascore
    • 96 William Bibbiani
    It is an uncommon thrill to watch a charming film that comes by its charms organically. Mrs. Harris Goes to Paris knows that fluff is much more satisfying when it has depth, so you can truly sink into it and feel the overwhelming comfort.
    • 83 Metascore
    • 95 William Bibbiani
    Fire of Love is a wholly satisfying, overwhelming documentary, as disarming as it is explosive.
    • 81 Metascore
    • 85 William Bibbiani
    Gianolli’s grand adaptation isn’t just a wicked send-up and a sensual period piece; it’s a poignant reminder that everyone who thinks they’ve cleverly sussed out the wickedness of mass media is hundreds of years behind the rest of the history class. Like the best stories told about earlier times, “Lost Illusions” feels remarkably contemporary.
    • 72 Metascore
    • 79 William Bibbiani
    It’s a film about a bleak and cruel universe that is unkind to victims and eager to ignore reasonable pleas, a world that has a conscious and subconscious vendetta against women in general. It’s also a film that thinks it’s entirely possible to destroy that world, as terrifying as it is, and ultimately, it’s the movie’s principled strength that endures.
    • 18 Metascore
    • 10 William Bibbiani
    It’s a film full of boring conversations, daft sci-fi conceits, and confusing suspense, which add up to practically nothing. “Zero” indeed.
    • 45 Metascore
    • 50 William Bibbiani
    Although the film takes place in a dystopian near future, the story rarely reveals any meaningful information about how society functions after an environmental collapse, or indeed portrays hardly any scene as though it could take place only within the confines of Mondocane.
    • 32 Metascore
    • 23 William Bibbiani
    The new Firestarter is a lot like the old Firestarter, if the old Firestarter was duller, cheaper, and devoid of almost all meaning.
    • 61 Metascore
    • 77 William Bibbiani
    “Pompo” reveals itself to be a film about why not every single thing you do as an artist is special, and how admitting that can lead to stronger, more efficient storytelling.
    • 58 Metascore
    • 75 William Bibbiani
    Charlotte may not take the utmost advantage of its material, but what it dares to tackle, it does so successfully, sadly, and memorably.
    • 61 Metascore
    • 71 William Bibbiani
    As They Made Us is a very forgiving film about seemingly unforgivable pain, which is to say that it has been made with a lot of unconditional love.

Top Trailers