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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    • 85 Metascore
    • 88 Clayton Dillard
    The Asphalt Jungle
    Blood and trauma make an irresistible mix in John Huston’s The Asphalt Jungle.
    • 94 Metascore
    • 88 Clayton Dillard
    Faces Places
    Agnès Varda and JR's film develops into something approaching a manifesto for the possibility of shared happiness.
    • 84 Metascore
    • 88 Clayton Dillard
    Fireworks Wednesday (2006)
    Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
    • tbd Metascore
    • 88 Clayton Dillard
    Minamata Mandala
    The film understands how atrocity is perpetuated, fanning a maddening sense of injustice.
    • 65 Metascore
    • 88 Clayton Dillard
    A Skin So Soft
    The pleasure of Denis Côté's film radiates not so much from its storytelling as it does from the meditative force of its formal construction. Read our review.
    • 79 Metascore
    • 88 Clayton Dillard
    Whose Streets?
    The film’s rhythmic editing contextualizes Ferguson’s streets for their relevance to a black populace’s want for stability and peace.
    • 65 Metascore
    • 88 Clayton Dillard
    Prince
    It revives hope for a pop-art cinema that's capable of treating characters like actual human beings rather than pawns on a chess board.
    • tbd Metascore
    • 88 Clayton Dillard
    White Balls on Walls
    Sarah Vos creates a nearly mockumentary effect that neither fully lampoons nor endorses contemporary standards for the art world’s political correctness but lands at a decidedly more ambivalent point.
    • 79 Metascore
    • 88 Clayton Dillard
    How to Have Sex
    How to Have Sex winds up delivering on the promise of its title, as this is a truly instructive film about sexual politics, though a remarkable one for largely leaving emotions unresolved and relationships feeling messy.
    • 70 Metascore
    • 88 Clayton Dillard
    Sworn Virgin
    Given its nearly episodic structure, formal choices, and similar thematic inquiries, Sworn Virgin suggests an unofficial remake of Vivre Sa Vie.
    • 60 Metascore
    • 88 Clayton Dillard
    Beyond the Valley of the Dolls
    While Roger Ebert’s screenplay contains overt jabs at Hollywood’s culture of exploitation, Beyond the Valley of the Dolls cannot be called anything but sincere regarding its penchant for buxom female anatomy.
    • 82 Metascore
    • 88 Clayton Dillard
    Flamenco, Flamenco
    It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
    • 81 Metascore
    • 88 Clayton Dillard
    Daughters of the Dust
    This is a work of art that's as much a cinematic probe, and a challenge to mythologizing past eras, as it is an ancestral history lesson.
    • 81 Metascore
    • 88 Clayton Dillard
    No Home Movie
    By refusing to finitely define Natalia, or reduce her life to a series of biographical details, Akerman elides eulogizing of any sort, dignifying Natalia without personifying her as an idea made flesh.
    • 87 Metascore
    • 75 Clayton Dillard
    We Are the Best!
    Lukas Moodysson's film allows its trio of girls to express themselves through gender, certainly, but not undermine their desire to be heard as artists first.
    • 50 Metascore
    • 75 Clayton Dillard
    i hate myself :)
    Few documentarians give themselves to their work as literally as Joanna Arnow.
    • 85 Metascore
    • 75 Clayton Dillard
    Starless Dreams
    Mehrdad Oskouei avoids sentimentalizing the girls or tritely lamenting their stolen innocence.
    • 83 Metascore
    • 75 Clayton Dillard
    Kurt Cobain: Montage of Heck
    Director Brett Morgen distinguishes the biographical documentary by viewing himself as more of a curator than a film director.
    • 83 Metascore
    • 75 Clayton Dillard
    The Salt of the Earth
    It evolves into an intimate reverie on family and aesthetics, while remaining sporadically attuned to the reflexive and ethical dimensions of ethnographic discovery.
    • 71 Metascore
    • 75 Clayton Dillard
    The Way He Looks
    What progressively mounts tension is the film's understanding of a boy's gradually realized homosexuality as being inextricable from the central metaphor of compromised vision.
    • 75 Metascore
    • 75 Clayton Dillard
    Born in Flames
    It fuses documentary and dramatic sequences into a free-form narrative that exists somewhere between essay film, political manifesto, and exploitation.
    • 59 Metascore
    • 75 Clayton Dillard
    Black Mama White Mama
    Black Mama, White Mama became a key reference point for postmodern mash-up artists like Quentin Tarantino and Neveldine/Taylor, but the film’s socio-political jungle is not all fun-and-grindhouse games.
    • 85 Metascore
    • 75 Clayton Dillard
    'Round Midnight
    Jazz music is a state of mind in Bertrand Tavernier’s 1986 film ’Round Midnight.
    • 52 Metascore
    • 75 Clayton Dillard
    Jamaica Inn
    Alfred Hitchcock’s Jamaica Inn would have been better titled The Gangs of Jamaica Inn, since the film is thoroughly concerned with groupings, allegiances, and the ways class standing relates to moral obligation.
    • 66 Metascore
    • 75 Clayton Dillard
    Norman Lear: Just Another Version of You
    The doc finds pathos in an amiable, fluid construction that chronologically charts the career (and political) ambitions of TV producer Norman Lear.
    • 81 Metascore
    • 75 Clayton Dillard
    Two Trains Runnin'
    Sam Pollard's documentary teeters on reaching a higher plane of meaning simply through the efficiency of its information.
    • 66 Metascore
    • 75 Clayton Dillard
    The Great Museum
    The ghostliness of the Kunsthistorisches Museum in Vienna derives from an identity crisis, where digitization threatens to eradicate the gallery space.
    • 64 Metascore
    • 75 Clayton Dillard
    Hieronymus Bosch, Touched by the Devil
    It highlights how the ownership of art serves as a marker of capital for distinguishing one institution over another.
    • 68 Metascore
    • 75 Clayton Dillard
    Stations of the Cross
    Stations of the Cross acknowledges that putting theoretical behaviors and mindsets into practice can have unwieldy consequences if context and intent are wholly ignored.
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