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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    • 63 Metascore
    • 50 Clayton Dillard
    A Coffee In Berlin
    Jan Ole Gerster seems infatuated with his main character, but to little avail beyond reveling in his aimless despair.
    • 87 Metascore
    • 50 Clayton Dillard
    Newtown
    Its enervated address of both mental-health treatment and gun laws receives few constructive articulations beyond a single scene.
    • 66 Metascore
    • 50 Clayton Dillard
    Vita Activa: The Spirit of Hannah Arendt
    It reduces its historical moment to a series of vignettes and voiceovers, each evincing a curiously tone-deaf sentimentality.
    • 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.
    • 68 Metascore
    • 50 Clayton Dillard
    Songs My Brothers Taught Me
    The film is more taken by its own formal composition than enunciating the musical edification promised by its title.
    • 50 Metascore
    • 50 Clayton Dillard
    War Story
    Mark Jackson's direction strips much of the agency from any character's grasp by insisting that their dilemmas can only be revealed with stone-faced austerity.
    • 70 Metascore
    • 38 Clayton Dillard
    Bombshell: The Hedy Lamarr Story
    The film curiously steers toward surmising Hedy Lamarr's psychological state as it pertained to love and pleasure.
    • 47 Metascore
    • 38 Clayton Dillard
    Puerto Ricans in Paris
    The film simply limps to predetermined truths that hypocritically advocate the maintenance of placid family values.
    • 52 Metascore
    • 38 Clayton Dillard
    The Young Kieslowski
    Another effort to explain how difficult it is to be a young, white, smart, non-disfigured, upper-middle-class male.
    • 60 Metascore
    • 38 Clayton Dillard
    Tab Hunter Confidential
    The film lacks perspective beyond a rather limited preoccupation with the details of Hunter's personal life.
    • 59 Metascore
    • 38 Clayton Dillard
    Standing Tall
    The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
    • 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.
    • 67 Metascore
    • 38 Clayton Dillard
    The Girl with All the Gifts
    The film wants to have its flesh and eat it too, but even more damning is how little meat is on its bones to begin with.
    • 54 Metascore
    • 38 Clayton Dillard
    The Riot Club
    The thinly sketched characters of the film are numerous and inconsequential, with director Lone Scherfig giving sparse attention to humanizing or deepening them.
    • 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.
    • 69 Metascore
    • 38 Clayton Dillard
    Antarctica: A Year on Ice
    Anthony Powell's vision as a filmmaker is frustratingly limited to an information-style presentation that doubles as an enthusiastic advert for the transcendental qualities of the terrain.
    • 62 Metascore
    • 38 Clayton Dillard
    Goodbye to All That
    If Junebug focused on quieter moments of extended family dynamics, with its city-meets-country clashes delving into resonant, region-specific sensibilities, Angus MacLachlan never goes beyond signpost sentiment.
    • 73 Metascore
    • 38 Clayton Dillard
    Last Flight Home
    Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
    • 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.
    • 46 Metascore
    • 38 Clayton Dillard
    Ashby
    The film displays little ability to utilize Ashby's violent actions for means other than high-concept fodder and out-of-place bloodshed.
    • 62 Metascore
    • 38 Clayton Dillard
    Lamb
    Ross Partridge seems flatly fascinated by Lamb’s pathology without trying to understand its formation from environmental factors.
    • 49 Metascore
    • 38 Clayton Dillard
    The Wannabe
    The film is less a revisionist take on the circumstances of John Gotti's 1992 indictment than a tedious love child of Bonnie and Clyde and Goodfellas.
    • 67 Metascore
    • 38 Clayton Dillard
    Gabriel
    The film wants to reveal the anguish of mental illness and infiltrate the mind of its protagonist through constant affirmation of his pain.
    • 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.
    • 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.
    • 68 Metascore
    • 38 Clayton Dillard
    Icarus
    A routinely assembled mélange of provocative material consistently undone by its maker's perplexing need to foist himself into the center of every conversation.
    • 61 Metascore
    • 38 Clayton Dillard
    The People vs. Fritz Bauer
    Lars Kraume's tinkering with the historical record would be more welcome were he also shifting away from the standard biopic template.
    • 57 Metascore
    • 38 Clayton Dillard
    Human Flowers of Flesh
    There’s an emptiness to Helena Wittmann’s Human Flowers of Flesh that no amount of striking cinematography, thematic suggestion, and allusions to Jean Painlevé can disguise.
    • 74 Metascore
    • 38 Clayton Dillard
    Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    It mistakes touch-and-go navel-gazing for comprehension, as if speaking to as many subjects as possible produces an inherently compelling take.
    • 53 Metascore
    • 38 Clayton Dillard
    The Emperor's New Clothes
    It's more about hyping Russell Brand as a constituent for the people than locating the means for sustained economic transformation.
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