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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    • 68 Metascore
    • 38 Clayton Dillard
    The Origin of Evil
    The Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.
    • 51 Metascore
    • 38 Clayton Dillard
    Yves Saint Laurent
    For all of the supposed passion and anguish in Saint Laurent's clothing and relationships, Jalil Lespert consistently neglects to imbue the film with such a comparable level of ambition or desire.
    • 70 Metascore
    • 38 Clayton Dillard
    Hunter Gatherer
    A deliberately offbeat characterization of mental illness, Hunter Gatherer is ultimately a failed act of empathy.
    • 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.
    • 62 Metascore
    • 38 Clayton Dillard
    Stay Awake
    Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
    • 64 Metascore
    • 38 Clayton Dillard
    Holy Hell
    It hopes to jolt audiences with OMGs instead of edifying them about the empty lure of Buddhafield's cult mentality.
    • 52 Metascore
    • 38 Clayton Dillard
    Bobbi Jene
    Elvira Lind's film is closer to an advertisement for Bobbi Jene Smith than a film about the contemporary dancer.
    • 57 Metascore
    • 38 Clayton Dillard
    The First Monday in May
    Andrew Rossi pays sporadic lip service to recognizing cultural specificity before returning to his star-gazing ways.
    • 54 Metascore
    • 38 Clayton Dillard
    The Wrong Light
    The divide between meaningful journalism and ethical filmmaking seldom seems as wide as it does in The Wrong Light.
    • 30 Metascore
    • 38 Clayton Dillard
    The House
    The House's limp comedic pieces are only sporadically enlivened by a game cast.
    • 69 Metascore
    • 38 Clayton Dillard
    Gabriel and the Mountain
    The film seems to think that the mere recognition of Gabriel as a narcissist sufficiently complicates the character's sense of entitlement.
    • 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.
    • 59 Metascore
    • 38 Clayton Dillard
    Learning to Drive
    Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
    • 54 Metascore
    • 38 Clayton Dillard
    Marie's Story
    The film is unable to specify narrative urgency beyond a broad sense of "based on a true story" pathos that's by turns hollowly uplifting and tragic.
    • 69 Metascore
    • 38 Clayton Dillard
    The Last Family
    The film tends to literalize its theme of unfulfilled desire by having characters explicitly lament their lost pasts.
    • 47 Metascore
    • 38 Clayton Dillard
    The Ardennes
    It predictably lurches toward acts of extreme violence with little interest other than the instant titillation such moments afford.
    • 52 Metascore
    • 38 Clayton Dillard
    VHYes
    The film settles much too comfortably into the well-trodden footsteps of other works.
    • 66 Metascore
    • 38 Clayton Dillard
    Borgman
    An art-house con destined to make viewers who've ever used the term "mindfuck" as praise rack their brains trying to come up with alternate readings for a film that invites many but convincingly offers none.
    • 51 Metascore
    • 38 Clayton Dillard
    Desierto
    Any perceptive dialogue or contemporary socio-political subtext is pummeled by Jonás Cuarón’s preference for empty genre thrills.
    • 58 Metascore
    • 38 Clayton Dillard
    Our Man in Tehran
    Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
    • 60 Metascore
    • 38 Clayton Dillard
    Ne Me Quitte Pas
    The entirety of the film seems increasingly constructed around ill-begotten attempts at dark humor.
    • 60 Metascore
    • 38 Clayton Dillard
    Burn Country
    For a film that warns against believing in a mirage, Burn Country seems all too comfortable perpetuating one.
    • 55 Metascore
    • 38 Clayton Dillard
    The Decent One
    The Decent One operates under a discursive premise so presumptuous and flimsy that its attempted function as an experiential documentary proffers little more than a book-on-tape-on-film.
    • 33 Metascore
    • 38 Clayton Dillard
    37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
    • 66 Metascore
    • 38 Clayton Dillard
    The Seventh Fire
    The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
    • 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.
    • 45 Metascore
    • 38 Clayton Dillard
    DogMan
    Dogman seems outwardly enamored with cosmic possibilities of meaning, but Luc Besson’s script remains earthbound and unimaginative.
    • 62 Metascore
    • 38 Clayton Dillard
    Ten Thousand Saints
    Even when tragedy strikes early on, the revelation is just another "growing up is hard" dot on the grid.
    • 67 Metascore
    • 38 Clayton Dillard
    Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
    • 52 Metascore
    • 38 Clayton Dillard
    The Last Thing Mary Saw
    The film comes to feel like a parody of a possession flick rather than a straightforward replication of the genre’s tropes.
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