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 9.4 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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    • 19 Metascore
    • 12 Clayton Dillard
    The Lovers
    A shamelessly derivative and preposterous would-be blockbuster that goofily fashions itself as a sweeping romance, time-travel sci-fi tale, and gallant period piece all at once.
    • 58 Metascore
    • 38 Clayton Dillard
    Our Man in Tehran
    Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
    • 74 Metascore
    • 38 Clayton Dillard
    Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    It mistakes touch-and-go navel-gazing for comprehension, as if speaking to as many subjects as possible produces an inherently compelling take.
    • 29 Metascore
    • 12 Clayton Dillard
    Tasting Menu
    There's a sinister, even insidious quality to a film that insists upon using incessant food montages not as a source of passion, but fodder for class-based self-congratulation.
    • 75 Metascore
    • 25 Clayton Dillard
    Rich Hill
    Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.
    • 75 Metascore
    • 12 Clayton Dillard
    Life, Animated
    It never addresses Disney's wholly manufactured stranglehold on turning adolescent desire into a consumerist impulse.
    • 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.
    • 68 Metascore
    • 38 Clayton Dillard
    Queen and Country
    The film lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
    • 73 Metascore
    • 38 Clayton Dillard
    Last Flight Home
    Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
    • 28 Metascore
    • 25 Clayton Dillard
    Rage
    Paco Cabezas's film is little more than a revenge relic pretending that the ethical treatise of David Cronenberg's A History of Violence never happened.
    • 40 Metascore
    • 25 Clayton Dillard
    The Film Critic
    It perverts cinephilia by asserting that anyone who engages in criticism actually, deep down, wants to be a practicing artist.
    • 47 Metascore
    • 25 Clayton Dillard
    Fanny
    The characters, the sets, and the scenes all exist to propagate the notion that pleasure derives from repetition and remediation.
    • 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.
    • 70 Metascore
    • 38 Clayton Dillard
    Hunter Gatherer
    A deliberately offbeat characterization of mental illness, Hunter Gatherer is ultimately a failed act of empathy.
    • 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.
    • 69 Metascore
    • 38 Clayton Dillard
    Antarctica: A Year on Ice
    Anthony Powell's vision as a filmmaker is frustratingly limited to an information-style presentation that doubles as an enthusiastic advert for the transcendental qualities of the terrain.
    • 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
    • 25 Clayton Dillard
    The Armor of Light
    It doesn't trust the inherently complex material to speak for itself or care to consider its consequences beyond instances of manufactured, gut-wrenching immediacy.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 25 Clayton Dillard
    My Love, Don't Cross That River
    Jin Mo-young fetishizes his subjects' wholly modest behaviors as cute manifestations of a pure form of human interaction.
    • 67 Metascore
    • 38 Clayton Dillard
    Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
    • 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
    Gabriel
    The film wants to reveal the anguish of mental illness and infiltrate the mind of its protagonist through constant affirmation of his pain.
    • 66 Metascore
    • 38 Clayton Dillard
    Borgman
    An art-house con destined to make viewers who've ever used the term "mindfuck" as praise rack their brains trying to come up with alternate readings for a film that invites many but convincingly offers none.
    • 39 Metascore
    • 38 Clayton Dillard
    Dirty Weekend
    Even if the title is meant to be ironic, the latest from writer-director Neil LaBute is a frustratingly stilted vision of middle-aged repression unleashed.
    • 66 Metascore
    • 38 Clayton Dillard
    The Seventh Fire
    The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
    • 64 Metascore
    • 12 Clayton Dillard
    Catch Me Daddy
    The film plods from one gruesome moment to the next, as if its mere aversion to optimism constitutes a philosophy.
    • 64 Metascore
    • 38 Clayton Dillard
    Holy Hell
    It hopes to jolt audiences with OMGs instead of edifying them about the empty lure of Buddhafield's cult mentality.
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