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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    • 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.
    • 75 Metascore
    • 63 Clayton Dillard
    Stefan Zweig: Farewell to Europe
    The film hovers between being a straight-up biopic of Zweig and a diagnosis of neoliberalism's recent ceding to neofascist policy and nationalistic fervor.
    • 57 Metascore
    • 63 Clayton Dillard
    In the Name of My Daughter
    This adaptation is to concerned with narrative fidelity and formal objectivity to pierce the veil of power dynamics that largely comprises the film's concerns.
    • 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.
    • 58 Metascore
    • 63 Clayton Dillard
    Brainwashed: Sex-Camera-Power
    Nina Menkes’s documentary comes dangerously close to inhabiting its own title.
    • 78 Metascore
    • 63 Clayton Dillard
    A Love Song
    The film relies on wide shots of distant mountains to stand in for a fruitful interrogation of what it means to occupy the open terrain of the U.S.
    • 70 Metascore
    • 63 Clayton Dillard
    Sin Alas
    The film's Cuban specificity comes to seem like an opportunistic locale for reenacting a decidedly art-cinematic legacy.
    • 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.
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