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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    • 65 Metascore
    • 50 Clayton Dillard
    Hockney
    After a nearly virtuoso opening, it reduces passages of the painter's life into multiple montages of pop pabulum.
    • 57 Metascore
    • 50 Clayton Dillard
    Jane by Charlotte
    The film neglects to find a conceptual framework for its prolonged consideration of Charlotte Gainsbourg’s eventual revelation: “I have always loved you, but it’s much clearer to me now.”
    • 64 Metascore
    • 50 Clayton Dillard
    Futuro Beach
    It masks depleted drama under a progression of long takes, various music cues, and a three-chapter structure that grows successively tedious.
    • 66 Metascore
    • 50 Clayton Dillard
    Wiener-Dog
    The film's back half nearly goes completely astray with two segments featuring unimaginative characterizations and tepid, mean-spirited scenarios.
    • 64 Metascore
    • 50 Clayton Dillard
    Steve McQueen: The Man & Le Mans
    The film forsakes all ambiguity regarding McQueen's psychology by stubbornly defining him as a determined, charismatic womanizer.
    • 37 Metascore
    • 50 Clayton Dillard
    10 Cent Pistol
    One wishes the director had as burning of an interest in significance as he does trickery and quippery.
    • 75 Metascore
    • 50 Clayton Dillard
    What Happened, Miss Simone?
    It utilizes Maya Angelou's claim as tantalizing bait rather than the starting point for a feature-length thesis statement.
    • 77 Metascore
    • 50 Clayton Dillard
    Command and Control
    Robert Kenner's stylistic choices amplify the film's fetishistic fascination with the nuclear weaponry itself.
    • 65 Metascore
    • 50 Clayton Dillard
    Miss Stevens
    It provides materials for discussion without directing the viewer toward a particular solution or easy answer.
    • 69 Metascore
    • 50 Clayton Dillard
    Gook
    Justin Chon fumbles the take on how his characters' anger fits into the greater landscape of a L.A. during the aftermath of the Rodney King beating.
    • 42 Metascore
    • 50 Clayton Dillard
    Two Tickets to Greece
    The film can never quite decide to what extent it wants to be either a light-hearted raunchy comedy or a darker comedic assessment of contemporary life.
    • 71 Metascore
    • 50 Clayton Dillard
    A Monster with a Thousand Heads
    The politics of the film are consistently muddled by director Rodrigo Plá's conspicuous formal choices.
    • 66 Metascore
    • 50 Clayton Dillard
    The Tenth Man
    As films about dopey dudes finding love go, The Tenth Man is too modest for its own good.
    • 65 Metascore
    • 50 Clayton Dillard
    Point and Shoot
    In abandoning a more vigorous discussion of class and race-based senses of entitlement, Marshall Curry reveals his goals to be less critical or rigid than passively honorific.
    • 71 Metascore
    • 50 Clayton Dillard
    Will You Dance with Me?
    Derek Jarman's footage speaks to the freedoms afforded by the combination of a darkened dance floor and like-minded people.
    • 77 Metascore
    • 50 Clayton Dillard
    Baden Baden
    The film plays like it's been methodically configured to snuff out an even marginal indulgence of its characters' emotions.
    • 77 Metascore
    • 50 Clayton Dillard
    Presenting Princess Shaw
    The peculiar circumstances of the documentary necessitate more transparency than the filmmaker is willing to offer.
    • 63 Metascore
    • 50 Clayton Dillard
    Love at First Fight
    Transparently wearing metaphors on its singed sleeves, the film shuttles around courses of meaning and significance without committing to any.
    • 65 Metascore
    • 50 Clayton Dillard
    Do I Sound Gay?
    Another link in an increasingly tiresome chain of naval-gazing think pieces posing as personal documentary.
    • 74 Metascore
    • 50 Clayton Dillard
    Raising Bertie
    The documentary mistakes its access to quotidian behaviors as evidence of the need for comprehensive educational and financial reform.
    • 69 Metascore
    • 50 Clayton Dillard
    Fatima
    The film appears to have been devised to pander to the presumptions of Western, liberal viewers.
    • 69 Metascore
    • 50 Clayton Dillard
    What Our Fathers Did: A Nazi Legacy
    The conclusion suggests the film exists to affirm the preconceived desires and perceptions of its makers.
    • tbd Metascore
    • 50 Clayton Dillard
    Little, Big, and Far
    The film adopts a diaristic, epistolary form that flattens its emotional topography.
    • 72 Metascore
    • 50 Clayton Dillard
    Obit
    The film ascribes to a conventionally contrapuntal take on the lives of those who spend all day surrounded by death.
    • 66 Metascore
    • 50 Clayton Dillard
    E-Team
    There's edifying information in the documentary, but it's tainted by forced dramatic tactics.
    • 75 Metascore
    • 50 Clayton Dillard
    The Wolfpack
    Crystal Moselle aims her cinematic arrow at the hearts of the same choir that Andrew Jarecki's stunted aesthetics preach to.
    • 75 Metascore
    • 50 Clayton Dillard
    Félicité
    Alain Gomis never reconciles throughout how the film's disparate parts are meant to fit together.
    • 66 Metascore
    • 50 Clayton Dillard
    A Woman, a Part
    The film’s depiction of friendship seldom pushes past insights predicated on a fundamental tension between characters.
    • 50 Metascore
    • 50 Clayton Dillard
    Marius
    Daniel Auteuil's less exercising diligent homage than indulging troglodytic cinephilia.
    • 73 Metascore
    • 50 Clayton Dillard
    The Club
    Pablo Larraín's thematic interests shift toward constructing a didactic tongue-lashing against the Catholic Church disguised as speculative fiction.
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