Clayton Dillard

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Slant Magazine
For 315 reviews, this critic has graded:
  • 29% higher than the average critic
  • 3% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 9.3 points lower than other critics. (0-100 point scale)

Clayton Dillard's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Graduate
Lowest review score: 0 Nothing Bad Can Happen
Score distribution:
  1. Positive: 157 out of 315
  2. Mixed: 59 out of 315
  3. Negative: 99 out of 315
315 movie reviews
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    • 45 Metascore
    • 38 Clayton Dillard
    DogMan
    Dogman seems outwardly enamored with cosmic possibilities of meaning, but Luc Besson’s script remains earthbound and unimaginative.
    • 44 Metascore
    • 38 Clayton Dillard
    Heart of Stone
    The cinematography looks striking enough throughout the various set pieces, but little happens in them to elevate Heart of Stone past its hackneyed foundation.
    • 62 Metascore
    • 38 Clayton Dillard
    Stay Awake
    Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
    • 57 Metascore
    • 38 Clayton Dillard
    Human Flowers of Flesh
    There’s an emptiness to Helena Wittmann’s Human Flowers of Flesh that no amount of striking cinematography, thematic suggestion, and allusions to Jean Painlevé can disguise.
    • 68 Metascore
    • 38 Clayton Dillard
    The Origin of Evil
    The Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.
    • 55 Metascore
    • 25 Clayton Dillard
    Spirited
    To say that the film grows tedious quickly would suggest that it wasn’t already trite from frame one.
    • 73 Metascore
    • 38 Clayton Dillard
    Last Flight Home
    Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
    • 52 Metascore
    • 38 Clayton Dillard
    The Last Thing Mary Saw
    The film comes to feel like a parody of a possession flick rather than a straightforward replication of the genre’s tropes.
    • 52 Metascore
    • 38 Clayton Dillard
    VHYes
    The film settles much too comfortably into the well-trodden footsteps of other works.
    • 69 Metascore
    • 38 Clayton Dillard
    Gabriel and the Mountain
    The film seems to think that the mere recognition of Gabriel as a narcissist sufficiently complicates the character's sense of entitlement.
    • 69 Metascore
    • 38 Clayton Dillard
    The Last Family
    The film tends to literalize its theme of unfulfilled desire by having characters explicitly lament their lost pasts.
    • 70 Metascore
    • 38 Clayton Dillard
    Bombshell: The Hedy Lamarr Story
    The film curiously steers toward surmising Hedy Lamarr's psychological state as it pertained to love and pleasure.
    • 52 Metascore
    • 38 Clayton Dillard
    Bobbi Jene
    Elvira Lind's film is closer to an advertisement for Bobbi Jene Smith than a film about the contemporary dancer.
    • 68 Metascore
    • 38 Clayton Dillard
    Icarus
    A routinely assembled mélange of provocative material consistently undone by its maker's perplexing need to foist himself into the center of every conversation.
    • 54 Metascore
    • 38 Clayton Dillard
    The Wrong Light
    The divide between meaningful journalism and ethical filmmaking seldom seems as wide as it does in The Wrong Light.
    • 30 Metascore
    • 38 Clayton Dillard
    The House
    The House's limp comedic pieces are only sporadically enlivened by a game cast.
    • 42 Metascore
    • 12 Clayton Dillard
    Julian Schnabel: A Private Portrait
    The film is intended to be placed at the altar of Julian Schnabel, an artist so singular that words simply fail.
    • tbd Metascore
    • 25 Clayton Dillard
    The Institute
    The Institute seems constantly on the verge of dipping into spoof, though of what exactly is difficult to say.
    • 67 Metascore
    • 38 Clayton Dillard
    The Girl with All the Gifts
    The film wants to have its flesh and eat it too, but even more damning is how little meat is on its bones to begin with.
    • 67 Metascore
    • 38 Clayton Dillard
    Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
    • 47 Metascore
    • 38 Clayton Dillard
    The Ardennes
    It predictably lurches toward acts of extreme violence with little interest other than the instant titillation such moments afford.
    • 60 Metascore
    • 38 Clayton Dillard
    Burn Country
    For a film that warns against believing in a mirage, Burn Country seems all too comfortable perpetuating one.
    • 56 Metascore
    • 38 Clayton Dillard
    Best and Most Beautiful Things
    It believes that the avenue to proving humanity is through banalizing gestures of quotidian significance.
    • 60 Metascore
    • 38 Clayton Dillard
    Ne Me Quitte Pas
    The entirety of the film seems increasingly constructed around ill-begotten attempts at dark humor.
    • 70 Metascore
    • 38 Clayton Dillard
    Hunter Gatherer
    A deliberately offbeat characterization of mental illness, Hunter Gatherer is ultimately a failed act of empathy.
    • 33 Metascore
    • 38 Clayton Dillard
    37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
    • 51 Metascore
    • 38 Clayton Dillard
    Desierto
    Any perceptive dialogue or contemporary socio-political subtext is pummeled by Jonás Cuarón’s preference for empty genre thrills.
    • 45 Metascore
    • 25 Clayton Dillard
    Come What May
    Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.
    • 61 Metascore
    • 38 Clayton Dillard
    The People vs. Fritz Bauer
    Lars Kraume's tinkering with the historical record would be more welcome were he also shifting away from the standard biopic template.
    • 66 Metascore
    • 38 Clayton Dillard
    The Seventh Fire
    The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
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