William Bibbiani

Shallow self-congratulation for American moxie at the expense of everyone and everything around us.

It’s not just "Netflix holiday rom-com good." It’s actually very, very good.

Road to Revenge is everything you could want from a rough-and-tumble, tough-as-nails action movie. 'Sisu' was even more of it, but only by a matter of degrees.

The romantic part of Johnson’s rom-com barely reaches a low simmer, but the comedy part burns a little brighter.

There hasn’t been a pre-planned 'Part Two' this disappointing since the second half of Andy Muschietti’s 'It.' At least nobody projectile vomits on Jeff Goldblum to the tune of Juice Newton’s 'Angel of the Morning.' Then again, that would have been more memorable.

A sweet, immersive glimpse at two of our futures, and it’s clear-eyed about which aspects of those worlds we want to avoid, and which ones we have to pursue.

A slapdash effort from an otherwise great artist.

Some movies are movies. Other movies are cocoa. A Merry Little Ex-Mas is the latter.

The Carpenter’s Son' is a Biblical horror movie with interesting ideas. They just don’t seem interesting because the perspective is cockeyed, which nullifies the film’s ability to trouble our hearts.

The fact that it's released by Paramount plays like a punchline, and it’s unclear who’s getting punched.

It’s a magic act without the storytelling, so every moment is the prestige, and none of it feels prestigious. It’s goofy and shallow and delightful and in a couple days I’ll forget I ever saw it.

If In Your Dreams was too entertaining it would contradict its own message about the perils of escapism. But it might not be entertaining enough to make audiences want to stay until the message comes through. Call it a design flaw.

This is wickedly exciting filmmaking. The rare, flashy studio blockbuster that doesn’t read like a laundry list of creative compromises, where the money went to telling a story about fascinating characters and putting them in impossible, gorgeous, and horrifically violent situations.

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.

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

Yes, the movie looks scary. So scary it could almost be confused for a scary movie. Almost. But only if you’re not paying attention, and miss how shallow, derivative and underwritten it is.

Look, do you want to see a man made out of chainsaws or not?

It’s probably better to have a mixed-bag remake with real thought put into it than a superficial thriller retread of tired yuppie phobias. 'The Hand That Rocks the Cradle' may not rock, but hey, let’s give it a hand anyway.

It’s one of the great horror sequels, for about an hour. Then it’s a cautionary tale about how not to make a horror sequel, for about an hour.

Set aside for a moment that the movie is literally hard to look at: it’s also tonally chaotic, and repeatedly trips over its own unspeakable horrors, before falling face-first into bowls of insufferable sugar.

It’s a playground for the filmmakers and audience alike, a fantastical space where anything can happen, whether it’s silly or badass or both.

It’s a great sports movie about the urge to be great at sports, and it’s one of the smartest movies the genre has produced in a long time.

Bertino and Fanning are deeply committed to going to dark places, and they take us along for their freaky little ride. Whether it makes sense or not. (Probably not.)

Tron: Ares has, in no uncertain terms, a great frickin’ soundtrack. The movie, on other hand, completely sucks.

It may be odd and insular, but it’s very much intentional. Even the heavy-handedness feels genuine.

It’s hard to imagine Mark Wahlberg as Parker, even after you just watched him play Parker for two hours.

The Strangers: Chapter 2' is an improvement on 'The Strangers: Chapter 1.' Then again, a moderate case of food poisoning is an improvement on a severe one.

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).