William Bibbiani

Select another critic »
For 211 reviews, this critic has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 95 BlacKkKlansman
Lowest review score: 12 The Haunting of Sharon Tate
Score distribution:
  1. Negative: 28 out of 211
211 movie reviews
    • 62 Metascore
    • 71 William Bibbiani
    Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.
    • 47 Metascore
    • 85 William Bibbiani
    Venom: Let There Be Carnage is a bold and brisk superhero story, unlike any other mainstream Hollywood film in the genre. It crams a heck of a lot of movie into an hour and a half, but it doesn’t feel like it needed to be longer. It just feels like we need more movies like it.
    • 51 Metascore
    • 50 William Bibbiani
    Surge captures the protagonist’s collapse but shies away from catharsis, judgment, or context. Karia’s film lives in the moment and no matter how overwhelming it may seem, the moment is fleeting.
    • 84 Metascore
    • 85 William Bibbiani
    Inu-Oh may get messy with its plotting, but that never dulls its impact. It’s a siren scream of a musical: angry and beautiful, rapturously animated and highly infectious.
    • 45 Metascore
    • 44 William Bibbiani
    At the end of the day, “DASHCAM” actually doesn’t seem to have much of a point to make. It’s a mean little joke of a horror movie, one where the worst people seem to live longest and endure no consequences, and if that’s what “DASHCAM” has to say about life itself then fair enough, but it’s not presented with cleverness or pointed satire. Savage’s film just keeps digging a hole and somehow it never reaches any depth.
    • 51 Metascore
    • 80 William Bibbiani
    Malignant might not hold up to scrutiny but by the time all its mysteries are revealed, it’s clear that it was never supposed to. It’s an absurdly entertaining frightfest with a heavy emphasis on the absurd, and thank heaven — or hell — for it.
    • 86 Metascore
    • 80 William Bibbiani
    The Rescue is an enthralling documentary, with a real-life story so spectacular you can hardly believe it. That’s why the film’s overwhelming polish sometimes undermines the real-life story it’s trying to tell.
    • 67 Metascore
    • 50 William Bibbiani
    When viewed with both eyes open, Worth is a thematically confusing motion picture, no matter how good the acting is. If the film exists to sell us on how great the fund was, it blew it, because we’re left with troubling and unanswered questions. If the film exists to raise those questions, it cops out by resorting to treacly melodrama. And it cannot effectively do both.
    • 36 Metascore
    • 19 William Bibbiani
    Demonic isn’t just a low-budget supernatural–sci-fi thriller; it’s also a shallow one, a boring one, a poorly conceived one — and the characters stink too.
    • 46 Metascore
    • 40 William Bibbiani
    Don’t Breathe 2 may not be the first horror movie sequel to try to transform the monster into an antihero, but it’s hard to think of another one that whiffs it this hard.
    • 81 Metascore
    • 81 William Bibbiani
    It’s a film about hubris, selfishness, failed bureaucracies, and a stubborn inability to learn from past mistakes.
    • 50 Metascore
    • 60 William Bibbiani
    Disney may be in the process of updating Jungle Cruise, the ride, but Jungle Cruise, the movie, isn’t trying to reinvent much of anything.
    • 43 Metascore
    • 40 William Bibbiani
    The drama is muddled, the action is murky, and the storyline can’t help but get goofier and goofier until, by the end, every attempt this movie makes to ground the “G.I. Joe” series gets blown up. It’s hardly the worst film the “G.I. Joe” series has delivered, but it’s certainly the least interesting.
    • 48 Metascore
    • 76 William Bibbiani
    Make no mistake: Escape Room: Tournament of Champions may be fun, it’s also incredibly stupid. The premise makes no sense. The mechanics make no sense. The plot makes no sense. Look elsewhere for storytelling sanity. Look here if you want to see confident, creepy absurdity, with a ghoulish imagination and showmanship to spare.
    • 53 Metascore
    • 73 William Bibbiani
    The Forever Purge sometimes loses its focus, but at its best, it’s still a riveting, violent, disturbing projection of how far America could backslide into the nation’s worst impulses.
    • 45 Metascore
    • 40 William Bibbiani
    Writer-director Rockaway (“The Abandoned”) hits all the major bullet points in the gangster’s life but ignores almost all the connective tissue that would make this outline of intriguing anecdotes really come alive.
    • 53 Metascore
    • 75 William Bibbiani
    Perhaps a little too slight to be memorable in the long run, this sensitive and charming tale reassures without, somehow, completely ignoring reality.
    • 40 Metascore
    • 53 William Bibbiani
    The screenplay captures the grizzled-cop-movie tone and draws some memorable characters, but the storyline is rote, the mystery is frustratingly predictable, and the imaginative deaths are less imaginative than ever. Spiral sacrifices entertainment value for respectability and in the process doesn’t quite achieve either.
    • 59 Metascore
    • 50 William Bibbiani
    For documentary fans, it’s a haphazardly paced and awkwardly structured film that struggles to organically incorporate each facet of the tragic “Ren & Stimpy” story, ultimately giving too short a shrift to the greatest tragedy of all.
    • 62 Metascore
    • 75 William Bibbiani
    There’s hope to be found in There’s Something in the Water, in the good intentions and implacable drive of the protesters.
    • 64 Metascore
    • 68 William Bibbiani
    It’s impressive to see Orley mask the shiny simplicity of Big Time Adolescence in finely-calibrated performances and observant, mostly realistic dialogue, but the disguise falls apart after a while.
    • 74 Metascore
    • 70 William Bibbiani
    The Ghost of Peter Sellers is a movie that seems to have been made by Medak, for Medak. It’s a mildly interesting footnote in cinema history, and worth watching for Sellers fans, Medak fans and aficionados of obscure cinema (you know who you are).
    • 50 Metascore
    • 92 William Bibbiani
    Zobel’s film grapples directly with the political spectrum and uses everything we love and hate about each other as fodder for humor and horror.
    • 59 Metascore
    • 59 William Bibbiani
    Mackie does a decent job of articulating his anger, and the filmmakers clearly care about the issues, but The Banker doesn’t take the narrative risks necessary to tell its story powerfully. Competence is all we get instead, and competence isn’t quite enough.
    • 72 Metascore
    • 92 William Bibbiani
    There’s no extraneous storytelling here, no scene that feels unnecessary, no scary moment that plays like it’s pandering. This is the expertly told, horrifying story of an abusive relationship filtered through the lens of a classic horror movie monster.
    • 29 Metascore
    • 35 William Bibbiani
    The film has no suspense, wit or shock value. It’s too ploddingly paced to elicit a proper jump scare, and it’s nowhere near insightful enough to get under the skin. The only thing interesting about this disappointing follow-up is how it takes the original film down with it, retroactively hurting the chances of “The Boy” becoming a beloved cult classic.
    • 77 Metascore
    • 89 William Bibbiani
    It’s a film that engages with the dour without becoming bitter, and a film that allows for redemption but only through the hardest possible work. It’s a film that’s built on a lie but sees only the underlying truth. What an astounding religious drama, and what a beautifully realistic morality play.
    • 64 Metascore
    • 34 William Bibbiani
    It’s a frustratingly superficial, judgmental, surface-level thriller that undermines all its scariest moments by getting distracted at all the wrong times.
    • 64 Metascore
    • 80 William Bibbiani
    As a fantasy, Gretel & Hansel is a delectably smart concoction, thoughtfully reevaluating the original tale, adding all-new layers of the ominous, and yet also keeping the story rooted in an amorphous, fairy tale past. As a horror movie, Perkins’ movie relies more on disquietude than external threat, and demands a thoughtful audience’s mental energies instead of a rowdy audience’s popcorn-spilling flinches.
    • 45 Metascore
    • 20 William Bibbiani
    The Rhythm Section takes well-worn genre material and removes all the substance and ingenuity, leaving behind only an undeveloped plot, a blank main character, and a sense of gravitas that is entirely unearned.

Top Trailers