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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    • 11 Metascore
    • 12 Clayton Dillard
    Some Kind Of Beautiful
    A hodgepodge of horny-old-man clichés writ large, staged as a gleeful affirmation of its male lead's ego and entitlement.
    • 2 Metascore
    • 12 Clayton Dillard
    Hillary's America: The Secret History of the Democratic Party
    The film is an incoherent and aesthetically barren harangue masquerading as a revisionist history lesson.
    • tbd Metascore
    • 38 Clayton Dillard
    Naked Opera
    A film that outwardly wants its depiction of class privilege to be ridiculing and farcical, but lacks the ability to express these critiques in lieu of the means of the class on the chopping block.
    • tbd Metascore
    • 75 Clayton Dillard
    Songs from the North
    North Korean culture is lensed in part through a South Korean perspective, with the final chapter asking: “Is reunification possible?”
    • tbd Metascore
    • 75 Clayton Dillard
    Coast of Death
    It convincingly insists that the human figure is no more vital to the image than the rapidly shifting landscape it inhabits.
    • tbd Metascore
    • 25 Clayton Dillard
    A Year in Champagne
    The premise amounts to numerous raised glasses and classical music cues, but little of this schmoozing strikes a notable chord beyond the démodé back-patting engaged throughout.
    • tbd Metascore
    • 38 Clayton Dillard
    L.A. Slasher
    It inflates the meta conceit (already borderline overblown) of a pop-obsessed, sex-negative serial killer to excessive but trite proportions.
    • tbd Metascore
    • 75 Clayton Dillard
    Welcome to this House
    If the documentary isn't quite dynamic in its revelations, it's considerably more so in its challengingly essayistic presentation.
    • tbd Metascore
    • 63 Clayton Dillard
    Ghostland: The View of the Ju/’hoansi
    The film’s nagging representational problem stems from its reductive sense of place and portraiture of emotional displacement, which gradually phases out the possibility of thornier revelations.
    • 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.
    • tbd Metascore
    • 75 Clayton Dillard
    The Island Funeral
    The film rolls political commentary into the template of a “lost highway” horror film by forgoing ironic distancing.
    • tbd Metascore
    • 100 Clayton Dillard
    Hyenas
    Djibril Diop Mambéty’s 1992 film resonates primarily for its lacerating comedic writing and pacing.
    • tbd Metascore
    • 63 Clayton Dillard
    Slaughter High
    Despite the pretense of commentary, the film asks no underlying questions about the society that produces slasher films and revels in its narrative’s basic premise to numbing ends.
    • tbd Metascore
    • 75 Clayton Dillard
    Expedition Content
    The issue of racism sits nestled under both this sequence and the field of anthropology as a whole, giving Expedition Content a nakedly ontological dimension that interrogates how images are produced and who produces them.
    • 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.
    • tbd Metascore
    • 88 Clayton Dillard
    Minamata Mandala
    The film understands how atrocity is perpetuated, fanning a maddening sense of injustice.
    • tbd Metascore
    • 88 Clayton Dillard
    West Indies: The Fugitive Slaves of Liberty
    Med Hondo’s is a bravura spectacle of intellectual and cinematic daring.
    • tbd Metascore
    • 88 Clayton Dillard
    No Fear, No Die
    As with Claire Denis’s previous Chocolat, emphasis is placed both on how the French legacy of colonialism persists into the present, as well as how Black men are often filtered through the white imagination to ruinous ends.
    • tbd Metascore
    • 50 Clayton Dillard
    Little, Big, and Far
    The film adopts a diaristic, epistolary form that flattens its emotional topography.
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