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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‘Fire of Love’ Film Review: Married Scientists Devote Their Lives to Each Other, and to Volcanoes
The nature-documentary footage of lava is awe-inspiring, as is the love story of volcanologists Katia and Maurice Krafft
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All 33 Elvis Movies, Ranked from Worst to Good (Photos)
With Baz Luhrmann’s “Elvis” hitting theaters, it’s time to look at The King’s checkered history as a movie star
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‘Watcher’ Film Review: Maika Monroe Stares Down a Potential Killer in an Intense But Low-Key Thriller
Director Chloe Okuno is less interested in cheap thrills than in exploring the ways that women are ignored when they talk about men being dangerous
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‘Allswell’ Film Review: Ensemble Cast Captures the Warm Embrace, and Prickly Challenges, of Family
Tribeca Festival 2022: Co-written by its lead actors and director, this ensemble piece understands its characters enough to love and forgive them
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‘The YouTube Effect’ Film Review: Alex Winter Traces the History of the Ubiquitous Website
Tribeca Film Festival 2022: Beauty and horror, algorithms and monetization, free expression and conspiracy theories — they’re all just a click away
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Every David Cronenberg Film, Ranked Least-Great to Most-Great (Photos)
Where does “Crimes of the Future” (2022) rank among the Canadian auteur’s filmography?
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‘Lost Illusions’ Film Review: Balzac Adaptation Proves His Media Satire Still Stings
This César-winner for Best Picture shows that not much has changed between 19th-century Parisian scandal sheets and the Twitter hot take
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‘DASHCAM’ Film Review: Like an Internet Troll, In-Your-Face Horror Movie’s Shock Turns to Tedium
Rob Savage’s follow-up to “Host” is another COVID tale, but it digs itself into a hole without finding any depth
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‘Zero Contact’ Film Review: Anthony Hopkins Zoom-Call Thriller Lays a Goose Egg
Shot remotely via the COVID-19 lockdown, this sci-fi stinker offers little beyond technobabble and exposition dumps
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‘Mondocane’ Film Review: Italian Crime Drama Forgets It’s Also Supposed to Be Science Fiction
Bad enough that this film doesn’t have much to say about contemporary society — why confuse things by setting it in the future?
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‘Firestarter’ Film Review: Dreary Stephen King Remake Sits There Like a Pile of Wet Leaves
The 1984 version was no classic, but this one seems even duller and cheaper
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‘Pompo the Cinephile’ Film Review: Anime Crafts a Sweet-Natured Valentine to Filmmaking
What underbelly? This salute to showbiz ambitions stays on the sunny side
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‘Charlotte’ Film Review: Keira Knightley Voices a German Jewish Artist in History’s Crosshairs
Animated film lacks the daring of the real Charlotte Salomon’s paintings, but its examination of Nazi oppression rings all too familiar in the modern day
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‘Fantastic Beasts: Secrets of Dumbledore’ Film Review: There’s Little Magic Left in This Sagging Franchise
This latest entry abandons any plot points of interest from the previous two chapters, focusing instead on shocking reveals that are anything but
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‘As They Made Us’ Film Review: Mayim Bialik’s Impressive Feature Debut Explores Family Crisis
In an all-star ensemble, Candice Bergen steals the show as a dysfunctional matriarch
