William Bibbiani

A sensual, ingenious update of Ibsen’s classic play, honoring the grand theatrical tradition and transforming it into new, ecstatic cinema.

We like to joke about how "this meeting could have been an email" but if all The Devil Wears Prada 2 can offer is Anne Hathaway, Meryl Streep, Stanley Tucci and Emily Blunt on-screen together again, then this film could have been a Zoom call.

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.

I Swear is the real deal, that rare biopic that doesn’t just tell a real human being’s story — or worse, give you the superficial, reassuring gist — but invites you into it.

A decently made but unsurprising thriller.

I do heartily recommend you see Materialists, and that you see it for what it is, not what it kinda looks like from the outside, as pitched to you by the very sort of romance-commodification salespersons that Celine Song’s movie criticizes.

Del Toro hasn’t had a role this juicy in ages, and he’s captivating at all times.

Any movie that reminds you, simultaneously and favorably, of Francis Ford Coppola’s The Conversation and Michael Mann’s Thief is doing something very right — even if it looms a lot lower than those towering works of genius.

Kudos to everyone here for doing their jobs, and for doing them reasonably well, but the end result of all the effort is a film which, when people talk about How to Train Your Dragon, will eventually be referred to as 'no, not that one.

There’s no escapism here, just like there’s no escape from our final repose. But there is a sense that how we face mortality matters, and that maybe — after watching this strange and wonderful film — we’ll be better equipped for that moment.

A film like this is always a major accomplishment, so it feels like a cognitive disconnect when the actual story it tells seems so light and benign.

The magic of La grazia is that Paolo Sorrentino makes a convincing argument that doubt is a beautiful thing.

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.

Its performances are strong — Kauchani Bratt in particular, but across the board — and its tale is moving.

Seven films & almost 30 years later, the franchise is still going strong with this worthy new addition, Cult of Chucky.

Uniquely violent, stylish, and engaging, The Night Comes For Us is an exciting prospect that delivers on all fronts.

Most of this new House Party is relatively uninspired, a modest and mediocre comedy that relies more on its high-concept plot to capture the audience’s attention than on interesting characters or, you know, jokes.

It’s got at least one excellent performance, but as a whole it contributes little to the “Frankenstein” tradition, other than a reminder that this has all been done before, mostly better, with more nuance and excitement.

It’s suspenseful and smart. It’s got great performances across the board. It’s exactly the kind of thriller we keep saying we want, again and again, but which never get enough credit (or enough marketing).

The First Purge completely earns its action-packed and rousing finale, but getting there certainly takes a while.

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.

Although it’s hard to shake the sense that on a practical level this studio is just scraping the bottom of the barrel, desperately hoping their minor characters can be converted into headliners, they’ve done a damn good job of it.

It’s not consistently hilarious but it is consistently imaginative, sometimes even breathtaking.

Kosinski’s antiseptic visual style and Ehren Kruger’s limp screenplay (with a co-story credit by Kosinski himself) make 'F1 The Movie' an incredibly sterile film about virility. It’s so manly it can barely perform.

Unsettlingly intimate, and nearly bursting with dread, My Friend Dahmer is an intriguing biopic about the early life of one of America’s most notorious serial killers, with an extraordinary and breakout per-formance by Ross Lynch at its center.

The best that can be said for 'Day One' is that if this is your first A Quiet Place, you’ll probably get swept up in it, and want to watch the other two.

That Crime 101 comes close to greatness and never quite gets there is not a crime. Even if it was, it’d be a misdemeanor.

Isn’t so much a movie as it is a corporate merger with stabbings and wiener jokes. A shameless piece of self-congratulation, fueled by self-cannibalism.