William Bibbiani

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For 187 reviews, this critic has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

William Bibbiani's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 95 The Killing of a Sacred Deer
Lowest review score: 12 The Haunting of Sharon Tate
Score distribution:
  1. Negative: 27 out of 187
187 movie reviews
    • 71 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.
    • 71 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.
    • 58 Metascore
    • 79 William Bibbiani
    It is, most importantly, amusing and creative. It may not follow its storylines to the most logical conclusions, and it may not reinvent the action movie as we know it. It’s still an enjoyable blockbuster sequel that tries to infuse the original idea with a couple new ideas, while setting the stage for more exciting adventures to come.
    • 76 Metascore
    • 82 William Bibbiani
    It’s an undeniably informative and vital documentary, which clearly illustrates a disturbing political farce that has been allowed to thrive for far too long. Which is to say, at all. Where Citizen K falls short is its depiction of Khodorkovsky, whose early indiscretions are breezed over as quickly as possible in order to get to his redemption.
    • 60 Metascore
    • 82 William Bibbiani
    "Scandalous” is a fast-paced documentary, packed with incident and information, as tantalizing as an old issue of the Enquirer itself.
    • 47 Metascore
    • 59 William Bibbiani
    Like many of Emmerich’s movies, even the better ones, Midway loses sight of the humanity inside its vast vistas of devastation. It’s a giant film with a very small impact.
    • 48 Metascore
    • 72 William Bibbiani
    It doesn’t glitter, it doesn’t explode. It’s just fluffy and sweet. Bean’s film suffers a bit from minor technical issues and, despite a few improvements, it just doesn’t have the same emotional impact as the original, but it still deserves a good home.
    • 51 Metascore
    • 20 William Bibbiani
    It’s almost a romantic melodrama, but it’s emotionally inert. It’s almost a biting statement about cultural appropriation, but it barely shows its fangs. It’s almost a murder mystery, but it abandons the plot for vast periods of time. It’s almost a good film except, no, that’s really stretching it. At its best it’s an unfocused plod.
    • 28 Metascore
    • 60 William Bibbiani
    Arctic Dogs is a functional, distracting kids flick that’s only remarkable in how unremarkable it is.
    • 80 Metascore
    • 84 William Bibbiani
    Making Waves: The Art of Cinematic Sound is a practically perfect primer for anyone interested in the history and craft of filmmaking, answering most of the pertinent, baseline questions while leaving plenty of room for supplemental research.
    • 31 Metascore
    • 71 William Bibbiani
    Countdown can never be taken seriously enough to work as a conventional horror thriller, and it’s never quite funny enough to be a great horror comedy. But it’s got just enough eccentricity and self-awareness to entertain despite those obvious deficiencies.
    • 54 Metascore
    • 94 William Bibbiani
    Whether Terminator: Dark Fate is the last chapter in this story or the first in an all-new franchise is, for now, irrelevant. The film works either way, bringing the tale of the first two films to a satisfying conclusion while reintroducing the classic storyline, in exciting new ways, to an excited new audience. It’s a breathtaking blockbuster, and a welcome return to form.
    • tbd Metascore
    • 81 William Bibbiani
    Michael Damian’s film has no nutritional value, but that’s by design: It’s a flaky dessert for the mind, and it’s irresistibly decadent.
    • 31 Metascore
    • 38 William Bibbiani
    Michael Goi, serving as both director and director of photography, does a better job placing the camera around the claustrophobic location than he does exploring the depths of his actors.
    • 48 Metascore
    • 44 William Bibbiani
    It gets through its storyline and makes its underscrutinized points about fidelity — it’s right there in a title — and then it’s over, and the only thing we have to show for it is a missed opportunity to let these characters reveal their inner selves for more than three minutes.
    • 70 Metascore
    • 78 William Bibbiani
    With its passionate contributors and lofty ideas, Memory: The Origins of Alien demonstrates that, if nothing else, the study of a film can be as exciting as the film itself.
    • 63 Metascore
    • 78 William Bibbiani
    It’s fun to watch clever people think their way out of impossible situations. What Berk and Olsen do in Villains is make it wildly entertaining to watch not-so-clever people try to do the same things.
    • 62 Metascore
    • 84 William Bibbiani
    It’s immediate and specific and painful and impressive.
    • 69 Metascore
    • 50 William Bibbiani
    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.
    • tbd Metascore
    • 15 William Bibbiani
    It’s got all the cinematic bravado of an expensive high school A/V project, and like a school project, it’s easy to root for the young people involved. They’re getting out there and they’re making a movie, dang it! Good for them! Not good for us, of course, but good for them.
    • 31 Metascore
    • 33 William Bibbiani
    A shabby low-rent thriller with a few vaguely interesting ideas and an ensemble that deserves better material.
    • 86 Metascore
    • 90 William Bibbiani
    Steve Bognar and Julia Reichert have produced in “American Factory” an invaluable snapshot of a moment where history is repeating itself, and trying to write a new, possibly dystopian ending. But it’s also a film full of beautiful human beings, trying desperately to make good for themselves and their families regardless of their nationality and culture.
    • 76 Metascore
    • 49 William Bibbiani
    The first half is a drowsy day at the office, full of complex paperwork minutiae that, too much of the time, doesn’t even pan out by the end of the movie. The second half is more horrifying to think about but less scrupulously presented and, as such, harder to believe.
    • 78 Metascore
    • 81 William Bibbiani
    If you knew Yechiun, or even if you just knew his films, it’s a sad and sweet catalog of his brief, inspirational life. If you didn’t know him, you’ll eventually feel like you did, and you’ll cry the kindest tears by the end, as you realize just how much he meant to the people who were in his orbit all along.
    • 55 Metascore
    • 70 William Bibbiani
    The contrast between the impossible events happening on-screen and the hyper-realism of the imagery doesn’t always work in the the movie’s favor.
    • 40 Metascore
    • 44 William Bibbiani
    Besson’s film feels like a relic by most modern standards: It’s a formulaic thriller from a director who invented this very specific formula, and just about all it’s good for is introducing audiences to Sasha Luss, who carries the film with elegant strength and unleashes a satisfying fury whenever she’s allowed to destroy or humiliate her oppressors.

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