William Bibbiani is an award-winning film critic and member of the Los Angeles Film Critics Association (LAFCA), the Critics Choice Association (CCA) and GALECA: The Society of LGBTQ Entertainment Critics. He has written film criticism for over 20 years and written for The Wrap since 2019. He is a frequent guest on KCRW’s Press Play with Madeline Brand. Bibbiani also co-hosts The Critically Acclaimed Network, a series of podcasts dedicated to new, classic and cult film and TV reviews and retrospectives. His commentary tracks and essays can be found on Blu-ray special editions for films released by Arrow Video, Shout! Factory and Umbrella Entertainment. You can follow him on BlueSky (and various other social media).
Experience:
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‘Joker: Folie à Deux’ Review: Joaquin Phoenix Is Daring, Pathetic in Todd Phillips’ Impressively Odd Sequel
Venice Film Festival: The ambitious musical sequel confronts and challenges Phillips’ own Oscar-winning film
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‘Rebel Ridge’ Review: Jeremy Saulnier’s Masterful Netflix Film Is a Sharp, Exhilarating Thrill Ride
Aaron Pierre, AnnaSophia Robb and Don Johnson co-star in an exhilarating Netflix movie that doesn’t ask you to turn your brain off
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‘Wolfs’ Review: George Clooney and Brad Pitt. That’s It. That’s the Movie.
Venice Film Festival: The “Ocean’s Eleven” stars reunite for a caper with more star power than real power
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‘AfrAId’ Review: Chris Weitz’s Tech-Scare Thriller Says AI Is the Worst
An algorithm takes over John Cho and Katherine Watertson’s lives in a modest return to Blumhouse basics
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‘Reagan’ Review: Embarrassing Presidential Biopic Treats Dennis Quaid’s POTUS as the Second Coming
Jon Voight costars in what may be the most tedious presidential biopic in 80 years
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‘1992’ Review: Tyrese Gibson and Ray Liotta Star in a Gutsy, Unexpected Heist Drama
Ray Liotta gives a frightening final performance as a thief pulling a high-stakes job during the Los Angeles Uprising
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‘The Killer’ Review: John Woo Remakes His Own Masterpiece, Sans Mastery
Nathalie Emmanuel is an assassin, Omar Sy is a cop and John Woo is on autopilot
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‘The Crow’ Review: This Daffy Remake Is for the Birds
Bill Skarsgård and FKA Twigs co-star in a nonsensical, ineffectual new take on the cult classic
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‘The Union’ Review: Mark Wahlberg and Halle Berry Are Working Class Heroes in a 2nd Class Comedy
Wahlberg gets recruited into a blue collar spy ring in a film that doesn’t seem to know what that means
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‘Skincare’ Review: Hollywood Stalker Thriller Strikes the Right (pH) Balance
Elizabeth Banks stars as a celebrity aesthetician whose life gets seriously inflamed
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‘Watchmen: Chapter 1’ Review: The ‘Citizen Kane’ of Superhero Comics Is Now an Adequate Animated Movie
Part 1 of Brandon Vietti’s film version faithfully adapts the story but struggles with its complexity and style
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‘Borderlands’ Review: Eli Roth’s Video Game Movie Reaches New Plateaus of Mediocrity
Cate Blanchett, Kevin Hart and Jack Black can’t save this lackluster sci-fi adventure
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‘Rebel Moon: The Director’s Cut’ Review: Zack Snyder’s 2-Part Sci-Fi Epic Gets Bigger, Not Much Better
Snyder’s “Seven Samurai” in space for Netflix is now twice as long as its inspiration, but still underwhelming
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‘Trap’ Review: M. Night Shyamalan Ensnares Josh Hartnett in Fiendishly Clever Thriller
Hartnett plays a killer trying to sneak his way out of a pop concert in one of the director’s most suspenseful films
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‘Doctor Jekyll’ Review: Eddie Izzard Beguiles in Hammer’s Latest House of Horrors
The iconic horror studio returns to form with a satisfying but slightly creaky monster movie
