William Bibbiani

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IGN, The Film Verdict, TheWrap
For 587 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 I Saw the TV Glow
Lowest review score: 1 Melania
Score distribution:
  1. Positive: 365 out of 587
  2. Mixed: 150 out of 587
  3. Negative: 72 out of 587
587 movie reviews
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    • 68 Metascore
    • 76 William Bibbiani
    Queens of the Dead
    Queens of the Dead may not be a timeless classic and it might not be a game changer for the genre, but more than any other recent zombie flick, it’s likely to play the midnight circuit for years. Not because of the camp. Not because of the unlimited cosplay opportunities. But because it fosters genuine good will from the audience. We love these characters, and we want them to stick around. Zomb-ay, you stay.
    • 60 Metascore
    • 44 William Bibbiani
    The Killer
    It’s good to know that John Woo still thinks the only reason motorcycles were invented was to be shot and exploded in mid-air, but most of this action is merely satisfactory, and even after years of experimentation, CGI bullet hits still look faker than an old-fashioned squib
    • 67 Metascore
    • 71 William Bibbiani
    Dead Man's Wire
    Skarsgård is a captivating chaos gremlin, and Montgomery is — in an easily overlooked, but absolutely vital role — an exceptional foil.
    • 67 Metascore
    • 79 William Bibbiani
    Avatar: The Way of Water
    When Cameron’s film calms down, and the stunning imagery that cinematographer Russell Carpenter (“Titanic”) has created with the film’s enormous visual-effects team can linger for a while, the imagination and scope of Avatar: The Way of Water can occasionally feel quite magical.
    • 67 Metascore
    • 76 William Bibbiani
    Halloween
    This isn’t a glorious rebirth, it’s a functional facsimile, and it’s a wholly satisfying piece of slasher entertainment regardless.
    • 67 Metascore
    • 40 William Bibbiani
    A Midsummer Night's Dream
    Despite the film’s good intentions it’s an underwhelming adaptation of Shakespeare’s play, with cute side gags that make more of an impression than the characters or the story.
    • 67 Metascore
    • 40 William Bibbiani
    The Little Stranger
    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.
    • 67 Metascore
    • 83 William Bibbiani
    Fresh
    Mimi Cave knows how to captivate and how to repulse, usually at the same time. She knows how to make us laugh and hate ourselves for laughing. “Fresh” is a breakneck emotional roller coaster, and like many roller coasters, it’ll also make your stomach churn.
    • 64 Metascore
    • 80 William Bibbiani
    Gretel & Hansel
    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.
    • 67 Metascore
    • 80 William Bibbiani
    Sovereign
    Sovereign is some of Offerman’s most complex and disturbing work. It’s a fine film, too.
    • 67 Metascore
    • 82 William Bibbiani
    Upgrade
    Upgrade is an intense sci-fi action thriller with big ideas, incredible action and a remarkable lead performance.
    • 67 Metascore
    • 69 William Bibbiani
    Don't Worry, He Won't Get Far on Foot
    Joaquin Phoenix gives an admirable performance as an interesting artist, whose life story otherwise gets the short shrift by this conventional drama with a frustratingly narrow focus.
    • 67 Metascore
    • 75 William Bibbiani
    Mission: Impossible – The Final Reckoning
    If this is the end of the 'Mission: Impossible' movies, they ended on an adequate note.
    • 67 Metascore
    • 88 William Bibbiani
    Smile 2
    Smile 2 is more of the same. A lot more. But it’s just as scary, and this time it’s feistier and funnier, proving that the premise has legs and also some malleability.
    • 67 Metascore
    • 79 William Bibbiani
    ChaO
    Whether the love story completely works or not, ChaO is such a visual wonder that it hardly matters.
    • 67 Metascore
    • 80 William Bibbiani
    The Spy Behind Home Plate
    The film doesn’t take an extra step towards cinematic showiness, nor does it glamorize or sensationalize Berg’s life. It’s just a nice time talking about World War II and baseball, sharing stories and retelling old jokes. It’s a respectable ode to Berg’s unusual, remarkable life.
    • 67 Metascore
    • 50 William Bibbiani
    Worth
    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.
    • 67 Metascore
    • 87 William Bibbiani
    A Simple Favor
    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.
    • 67 Metascore
    • 55 William Bibbiani
    The Dutchman
    It’s easy to appreciate the ambition of Gaines’ new take on Dutchman, but the original tale is fighting back, and it’s got the upper hand.
    • 66 Metascore
    • 88 William Bibbiani
    Speak No Evil
    A film about adult problems that preys on adult fears, made for audiences with an attention span and high standards.
    • 36 Metascore
    • 60 William Bibbiani
    Sherlock Gnomes
    It’s a speedy adventure with diverse action set pieces and a mystery that boasts at least one halfway decent twist.
    • 66 Metascore
    • 81 William Bibbiani
    The Rule of Jenny Pen
    May very well be [Lithgow's] creepiest performance since Brian De Palma’s “Raising Cain” — and that’s saying something.
    • 66 Metascore
    • 81 William Bibbiani
    Bumblebee
    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.
    • 66 Metascore
    • 70 William Bibbiani
    Wheelman
    Wheelman has a few great action sequences and one interesting idea, but is let down by a mediocre screenplay.
    • 66 Metascore
    • 90 William Bibbiani
    Game Night
    It takes real intelligence to make the best dumb jokes. Game Night has plenty of both, combining skilled filmmaking and ridiculous gags in equal measure, and letting the seriousness and silliness play off of each other for maximum effect.
    • 66 Metascore
    • 50 William Bibbiani
    Wonka
    Admittedly, it’s pretty easy to consume Wonka. After all, it’s just a piece of candy. But it’s the kind of candy that would make Willy Wonka sick to his stomach. Wonka is the sort of safe and corporate product that the hero of Wonka says we shouldn’t settle for.
    • 66 Metascore
    • 55 William Bibbiani
    Swan Song
    Ali and Harris give Swan Song a powerful emotional honesty that’s consistently undermined by the film’s poorly developed intellectual conceits, but their combined talents are almost enough to justify this film’s existence alone.
    • 66 Metascore
    • 79 William Bibbiani
    Master
    Writer-director Mariama Diallo’s debut feature Master doesn’t just blur the lines between the horror genre and institutionalized racism; it convincingly argues that there’s no meaningful difference.
    • 66 Metascore
    • 72 William Bibbiani
    Thirteen Lives
    Although it’s extremely competent, it fails to add a new perspective to the story, or a distinctive approach to its telling.
    • 65 Metascore
    • 82 William Bibbiani
    The Toxic Avenger
    A heartwarming, horrifically violent homage to the most lovable dreck ever produced outside of the studio system.
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