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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    • 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.
    • 74 Metascore
    • 88 Clayton Dillard
    Eastern Boys
    A ferocious plea for character salvation within a milieu where money and bodily affect are the raison d'être for human existence.
    • 74 Metascore
    • 63 Clayton Dillard
    Utama
    Stock story beats of generational dispute run throughout Utama, existing mainly to show off the widescreen possibilities of the Scope frame.
    • 73 Metascore
    • 75 Clayton Dillard
    (T)error
    It displays a staggering propensity for examining its unauthorized scenario without succumbing to either too insular or too general a set of assertions.
    • 73 Metascore
    • 50 Clayton Dillard
    Tangerines
    For all of the potential, historically specific revelations regarding nation and religion, Tangerines elects to become bathetic hokum.
    • 73 Metascore
    • 63 Clayton Dillard
    Pop Aye
    It too quickly opts out of its Scenes from a Marriage-like potential for what amounts to an augmented take on The Straight Story.
    • 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.
    • 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.
    • 73 Metascore
    • 63 Clayton Dillard
    A Borrowed Identity
    It lacks a formal rigor to match its thematic heft, preferring a digestible naturalism that serves its plot points in plain, uncomplicated sight.
    • 73 Metascore
    • 75 Clayton Dillard
    Megadoc
    Mike Figgis’s anthem of aspiration and struggle leaves no doubt about Francis Ford Coppola’s beliefs.
    • 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.
    • 73 Metascore
    • 75 Clayton Dillard
    Suburbia
    In the end, Suburbia’s greatest strength lies in its assertion of youth as a political state of mind.
    • 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.
    • 72 Metascore
    • 50 Clayton Dillard
    Steve Jobs: Man in the Machine
    A work of arduous assemblage that values information over affect and zip over conviction in its ramshackle historicizing of Apple CEO Steve Jobs.
    • 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.
    • 72 Metascore
    • 63 Clayton Dillard
    Censored Voices
    By negating more conventional, facts-first priorities, Mor Loushy creates an alternative historiography that's more meant to be felt than learned.
    • 72 Metascore
    • 63 Clayton Dillard
    Canners
    Canners plays a bit too infatuated with its subjects and for reasons not wholly clear by the film's end.
    • 72 Metascore
    • 75 Clayton Dillard
    When Marnie Was There
    The film at first plays like a refresher and throwback to Hayao Miyazaki's Kiki's Delivery Service, before revealing itself to be less minimal than minor.
    • 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.
    • 72 Metascore
    • 63 Clayton Dillard
    A Space Program
    The film's larger purpose, be it about the ardor of handmade crafts or artist Tom Sachs's artistic ambitions, never emerges with any consistent focus.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 88 Clayton Dillard
    Sweet Sweetback's Baadasssss Song
    Over 40 years after its release, Sweet Sweetback’s Baadasssss Song still retains its shock value, but even more so, it remains distinct as a work that cannot be squarely placed within a singular category.
    • 71 Metascore
    • 100 Clayton Dillard
    Nocturama
    Bertrand Bonello constructs a clear-eyed sense of how technology keeps getting closer and closer to replacing human consciousness.
    • 71 Metascore
    • 63 Clayton Dillard
    Cielo
    Alison McAlpine's documentary lacks urgency beyond its persistent pondering of the sky's eternal mysteries.
    • 71 Metascore
    • 75 Clayton Dillard
    Kékszakállú
    Like Shohei Imamura, Argentinian writer-director Gaston Solnicki can be understood as a cinematic "entomologist."
    • 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.
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