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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    • 76 Metascore
    • 75 Clayton Dillard
    The Worst Ones
    Part of what makes The Worst Ones tick with a pace close to that of a thriller is its self-reflexive relationship to genre and knack for referentiality.
    • 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.
    • 39 Metascore
    • 50 Clayton Dillard
    Zipper
    It wants for a keener vision of corrupted power, but at least Mora Stephens navigates her main character's sudden slew of infidelities without banalizing them.
    • 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.
    • 39 Metascore
    • 25 Clayton Dillard
    Stage Fright
    Jerome Sable's debut feature couldn't be further from De Palma's delirious cinematic essays on vision and genre.
    • 38 Metascore
    • 63 Clayton Dillard
    The Vatican Tapes
    Like technological innovation itself, the film seems overwhelmed by the reach of all its techo-cultural parts.
    • 37 Metascore
    • 38 Clayton Dillard
    Autómata
    Much like a spate of recent summer blockbusters, there's a tiring sense that every single facet of the narrative has to be rendered with truculent solemnity.
    • 37 Metascore
    • 75 Clayton Dillard
    The Face of an Angel
    Michael Winterbottom's film is a mess of tones, but not of ideas, which could well sum up the director's prodigious but uneven oeuvre.
    • 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.
    • 36 Metascore
    • 25 Clayton Dillard
    Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
    • 36 Metascore
    • 63 Clayton Dillard
    The Perfect Guy
    It uses convention to its advantage through an intriguing play with casting choices and bizarrely effective allusions to film history.
    • 35 Metascore
    • 25 Clayton Dillard
    Inner Demons
    There's a disingenuous offering of pathos to accompany the film's ridiculous and violent denouement.
    • 35 Metascore
    • 50 Clayton Dillard
    Very Good Girls
    Most disheartening is how the female leads aren't given ample space to develop as dynamic characters beyond the most urgent confines of the script's scenarios.
    • 35 Metascore
    • 25 Clayton Dillard
    Marguerite & Julien
    It finds its filmmaker completely lost between impulses to pay homage, play it safe, or offer something—anything—new.
    • 35 Metascore
    • 50 Clayton Dillard
    Manny
    An informative, if largely deferent, biographical documentary that tritely explains the ascendancy of Filipino boxer Manny Pacquiao.
    • 35 Metascore
    • 0 Clayton Dillard
    7 Minutes
    Whether because of race, shame, shelter, or fright, 7 Minutes remains white in the face throughout.
    • 33 Metascore
    • 38 Clayton Dillard
    37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
    • 30 Metascore
    • 38 Clayton Dillard
    The House
    The House's limp comedic pieces are only sporadically enlivened by a game cast.
    • 30 Metascore
    • 0 Clayton Dillard
    Always Woodstock
    The filmmakers play Catherine's disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film's thoroughly normative gender politics.
    • 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.
    • 28 Metascore
    • 38 Clayton Dillard
    Fifty Shades of Black
    An aimless, if sporadically clever, parody that tirelessly conceives of human sexuality as punchlines for its shortsighted cultural ribbings.
    • 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.
    • 25 Metascore
    • 12 Clayton Dillard
    The Letters
    A brain-dead slog whose bankrupt aesthetics ironically soil the very legacy it purports to aggrandize.
    • 24 Metascore
    • 25 Clayton Dillard
    Dawn Patrol
    The opposite of enlightenment, the film hides its anxieties behind a mélange of third-rate grit and playful xenophobia.
    • 24 Metascore
    • 12 Clayton Dillard
    Unfreedom
    The film's troubled aesthetics are exacerbated by a screenplay that contains the trappings of amateur toil, including dialogue that harps on innocuous moments and trifling exposition.
    • 23 Metascore
    • 25 Clayton Dillard
    Return to Sender
    The kind of wholly misconceived thriller that begs asking precisely what its filmmakers were seeking to accomplish.
    • 23 Metascore
    • 25 Clayton Dillard
    Sacrifice
    The film's very design turns out to be a whimpered bark followed by a toothless bite.
    • 21 Metascore
    • 25 Clayton Dillard
    Dirty Grandpa
    As in Judd Apatow's films, crassness is boasted as shamelessness, and calculated sentimentality is dressed up as empathy.
    • 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.
    • 17 Metascore
    • 12 Clayton Dillard
    Vice
    Vice takes the basic premise from 1973's Westworld and morphs it into an incoherent slog.
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