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 9.3 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
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    • 87 Metascore
    • 100 Clayton Dillard
    Fire at Sea
    Fire at Sea initiates a narrative that probes the fundamental gap between wanting to help and actually being able to do so.
    • 74 Metascore
    • 63 Clayton Dillard
    Sand Storm
    Elite Zexer weaves an impressively terse narrative of distinctly motivated characters, but the film’s core remains somewhat shapeless due to the routine dramatization.
    • 65 Metascore
    • 50 Clayton Dillard
    Miss Stevens
    It provides materials for discussion without directing the viewer toward a particular solution or easy answer.
    • 77 Metascore
    • 50 Clayton Dillard
    Command and Control
    Robert Kenner's stylistic choices amplify the film's fetishistic fascination with the nuclear weaponry itself.
    • 66 Metascore
    • 63 Clayton Dillard
    The Apostate
    The Apostate finds humor in unusual images or situations, few resounding with lasting impact.
    • 45 Metascore
    • 25 Clayton Dillard
    Come What May
    Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.
    • 56 Metascore
    • 75 Clayton Dillard
    The Seasons in Quincy: Four Portraits of John Berger
    It insists that it's in moments of small talk, between life's larger events, that one finds vitality.
    • 69 Metascore
    • 50 Clayton Dillard
    Fatima
    The film appears to have been devised to pander to the presumptions of Western, liberal viewers.
    • 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.
    • 78 Metascore
    • 75 Clayton Dillard
    Abortion: Stories Women Tell
    Tracy Droz Tragos's documentary examines its titular subject with a compassionate eye for regional detail.
    • 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.
    • 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.
    • 64 Metascore
    • 75 Clayton Dillard
    Hieronymus Bosch, Touched by the Devil
    It highlights how the ownership of art serves as a marker of capital for distinguishing one institution over another.
    • 66 Metascore
    • 38 Clayton Dillard
    The Seventh Fire
    The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
    • 2 Metascore
    • 12 Clayton Dillard
    Hillary's America: The Secret History of the Democratic Party
    The film is an incoherent and aesthetically barren harangue masquerading as a revisionist history lesson.
    • 66 Metascore
    • 75 Clayton Dillard
    Norman Lear: Just Another Version of You
    The doc finds pathos in an amiable, fluid construction that chronologically charts the career (and political) ambitions of TV producer Norman Lear.
    • 75 Metascore
    • 12 Clayton Dillard
    Life, Animated
    It never addresses Disney's wholly manufactured stranglehold on turning adolescent desire into a consumerist impulse.
    • 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.
    • 68 Metascore
    • 25 Clayton Dillard
    My Love, Don't Cross That River
    Jin Mo-young fetishizes his subjects' wholly modest behaviors as cute manifestations of a pure form of human interaction.
    • 66 Metascore
    • 63 Clayton Dillard
    Argentina
    The film stagnates by restricting camera mobility and focusing more on capturing dimensions of the performances in close-up.
    • 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.
    • 79 Metascore
    • 63 Clayton Dillard
    The Witness
    The film presents Kitty Genovese's identity as an afterthought, turning her living days and nights into incidental details.
    • 77 Metascore
    • 50 Clayton Dillard
    Presenting Princess Shaw
    The peculiar circumstances of the documentary necessitate more transparency than the filmmaker is willing to offer.
    • 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.
    • 63 Metascore
    • 50 Clayton Dillard
    Unlocking the Cage
    The problem here isn't necessarily the tension between emotion and rationality, but that the doc does little to explore these dimensions as they arise.
    • 69 Metascore
    • 75 Clayton Dillard
    Song of Lahore
    The final note of optimism is consistent with the documentary's overall tone and interest in perseverance.
    • 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.
    • 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.
    • 23 Metascore
    • 25 Clayton Dillard
    Sacrifice
    The film's very design turns out to be a whimpered bark followed by a toothless bite.
    • 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.
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