Clayton Dillard

Select another critic »
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 9.3 points lower than other critics. (0-100 point scale)

Clayton Dillard's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
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
view
per page
    • 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.
    • 74 Metascore
    • 63 Clayton Dillard
    A Woman's Life
    The choice of low-grade, handheld digital images further reduces the film to the clichés of revisionist literary filmmaking.
    • 42 Metascore
    • 12 Clayton Dillard
    Julian Schnabel: A Private Portrait
    The film is intended to be placed at the altar of Julian Schnabel, an artist so singular that words simply fail.
    • 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.
    • 64 Metascore
    • 75 Clayton Dillard
    Mimosas
    Mimosas confounds its surface narrative with intimations of more layered meanings to come through a jockeying of story threads.
    • 50 Metascore
    • 75 Clayton Dillard
    i hate myself :)
    Few documentarians give themselves to their work as literally as Joanna Arnow.
    • 52 Metascore
    • 75 Clayton Dillard
    Ghost in the Shell
    The primary pleasure of the film resides in its awareness of the impossibilities of unity, whether physical or cultural, within a rapidly transforming global milieu.
    • 66 Metascore
    • 50 Clayton Dillard
    A Woman, a Part
    The film’s depiction of friendship seldom pushes past insights predicated on a fundamental tension between characters.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 75 Clayton Dillard
    Lovesong
    So Yong Kim's film ultimately manages a convincing articulation of friendship between women.
    • 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.
    • 95 Metascore
    • 88 Clayton Dillard
    I Am Not Your Negro
    The film makes no concessions about its dissatisfaction with the whole rotten lot of so-called western democracy.
    • 85 Metascore
    • 75 Clayton Dillard
    Starless Dreams
    Mehrdad Oskouei avoids sentimentalizing the girls or tritely lamenting their stolen innocence.
    • 67 Metascore
    • 38 Clayton Dillard
    Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
    • 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.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 75 Clayton Dillard
    Two Trains Runnin'
    Sam Pollard's documentary teeters on reaching a higher plane of meaning simply through the efficiency of its information.
    • 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.
    • 60 Metascore
    • 38 Clayton Dillard
    Ne Me Quitte Pas
    The entirety of the film seems increasingly constructed around ill-begotten attempts at dark humor.
    • 70 Metascore
    • 38 Clayton Dillard
    Hunter Gatherer
    A deliberately offbeat characterization of mental illness, Hunter Gatherer is ultimately a failed act of empathy.
    • 77 Metascore
    • 63 Clayton Dillard
    Don't Call Me Son
    Writer-director Anna Muylaert writes themes into excellent, controlled first acts that turn capricious by the third.
    • 66 Metascore
    • 63 Clayton Dillard
    By Sidney Lumet
    Its strength lies in taking a thematic approach to Lumet's work, which prevents a chronological rattling off of one title after another.
    • 33 Metascore
    • 38 Clayton Dillard
    37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
    • 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.
    • 88 Metascore
    • 88 Clayton Dillard
    Things to Come
    The film is further confirmation of Mia Hansen-Løve’s delicately devastating ear and touch as a filmmaker.
    • 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.
Page:

Top Trailers

See all »
See all trailers »