William Bibbiani is a professional 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. He 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 medias).
Experience:
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‘Mary’ Film Review: Gary Oldman’s Haunted-Boat Tale Is Neither Sea- Nor Scare-Worthy
Emily Mortimer struggles to keep the film afloat, despite a script that underserves the characters and the chills
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‘Semper Fi’ Film Review: Fascinating Characters Get Sacrificed to Flat Melodrama in Marines Saga
Jai Courtney and Nat Wolff give their all as troubled brothers, but the movie ignores them for less interesting pursuits
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‘Villains’ Film Review: Small-Time Crooks Meet Very Bad People in Charmingly Eccentric Horror Comedy
Bill Skarsgård and Maika Monroe face off with Jeffrey Donovan and Kyra Sedgwick in a terror tale that’s oddly delightful
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All 5 ‘Rambo’ Movies Ranked Worst to Best (Photos)
How does Sylvester Stallone’s “Rambo: Last Blood” stack up?
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‘Another Day of Life’ Film Review: Animated True Story Vacillates Between Documentary and Artificiality
An intense and violent look at war in Angola is undone by the slick, “Grand Theft Auto”-style animation aesthetic
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‘Depraved’ Film Review: Larry Fessenden’s Latest Is a Mumblecore Frankenstein
The film answers the question no one asked: “What if the scientists who brought the dead back to life were immature jerks?”
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‘Next Level’ Film Review: YouTube Teens Star in Well-Meaning But Borderline Inept Musical
Production values in a musical don’t matter if the songs and dances are great, but in this case, they are not
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‘Giants Being Lonely’ Film Review: Teen Baseballers Come of Age in the Shadow of Their Parents’ Errors
Venice 2019: Grear Patterson’s striking debut plays like a Terrence Malick memory piece without the distance of nostalgia
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‘Jacob’s Ladder’ Film Review: Michael Ealy’s Powerful Performance Gets Lost in a Shabby Remake
This who-asked-for-it redo of the 1990 thriller spins a mystery that, this time, is both pointless and disappointing
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‘American Factory’ Film Review: Obama-Produced Doc Takes Bleak Look at Chinese-Owned Plant in Ohio
In the first film from the Obamas’ production shingle, a Chinese entity takes over a Dayton, Ohio, factory and clashes abound
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‘Cold Case Hammarskjöld’ Film Review: Formless Documentary Tackles Two Topics, Reveals Little About Either
As a whodunit regarding the death of Dag Hammarskjöld, or an exposé about the exploitation of Africa, this scattered film fails
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‘Love, Antosha’ Film Review: Anton Yelchin’s Brief, Voracious Life Celebrated in Poignant Doc
The “Star Trek” actor had a hunger for work, life and experience, and left behind a legacy both on-screen and off
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‘The Lion King’ Film Review: Impressive Technical Mastery Drains the Life From the Original
Jon Favreau’s remake looks incredibly literal, but the digital animal performers lack the facial expressions and body movement to tell the story
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‘The Art of Self-Defense’ Film Review: Jesse Eisenberg Yearns for Confidence in Brilliant Dark Comedy
Riley Stearns’ indie about insecure adults and the sensei who exploits them is bold and unsettling
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‘Anna’ Film Review: Luc Besson Repurposes His Own ‘La Femme Nikita,’ But Hey, the Wigs Look Great
Supermodel-turned-actress Sasha Luss gives a star turn in a tired thriller that feels dreadfully familiar
