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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    • 60 Metascore
    • 50 Clayton Dillard
    Streit's: Matzo and the American Dream
    Michael Levine provides a history without a real sense of individuated struggle or even singular personage.
    • 70 Metascore
    • 88 Clayton Dillard
    Sworn Virgin
    Given its nearly episodic structure, formal choices, and similar thematic inquiries, Sworn Virgin suggests an unofficial remake of Vivre Sa Vie.
    • 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.
    • 77 Metascore
    • 75 Clayton Dillard
    Above and Below
    The documentary lingers on silences and reveals its subjects only through moments of quotidian behavior.
    • 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.
    • 59 Metascore
    • 38 Clayton Dillard
    Standing Tall
    The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
    • 70 Metascore
    • 75 Clayton Dillard
    I Don't Belong Anywhere: The Cinema of Chantal Akerman
    The documentary is an attempt to capture something of Akerman's infectious spirit and thirst for worldly experience, as both an artist and a human being.
    • 58 Metascore
    • 63 Clayton Dillard
    Baskin
    The film mostly functions as a tour of familiar horror tropes for much of its running time.
    • 72 Metascore
    • 63 Clayton Dillard
    A Space Program
    The film's larger purpose, be it about the ardor of handmade crafts or artist Tom Sachs's artistic ambitions, never emerges with any consistent focus.
    • 84 Metascore
    • 88 Clayton Dillard
    Fireworks Wednesday (2006)
    Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
    • 58 Metascore
    • 25 Clayton Dillard
    Creative Control
    The film is overrun with characters, but it's less interested in their identity than their plasticity.
    • 44 Metascore
    • 12 Clayton Dillard
    Hyena Road
    Paul Gross situates the film's events somewhere between violent, militaristic fantasy and gentler, anti-war lament.
    • 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.
    • 35 Metascore
    • 25 Clayton Dillard
    Marguerite & Julien
    It finds its filmmaker completely lost between impulses to pay homage, play it safe, or offer something—anything—new.
    • 60 Metascore
    • 75 Clayton Dillard
    Rolling Papers
    It neither glorifies nor castigates pot usage, letting consumers speak for themselves without the intrusion of an omnipresent voice.
    • 81 Metascore
    • 50 Clayton Dillard
    A War
    Tobias Lindholm stages his claims through clunky dramaturgical scenarios, with the seams exposed at every turn.
    • 73 Metascore
    • 50 Clayton Dillard
    The Club
    Pablo Larraín's thematic interests shift toward constructing a didactic tongue-lashing against the Catholic Church disguised as speculative fiction.
    • 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.
    • 42 Metascore
    • 12 Clayton Dillard
    Lazer Team
    The premise thoughtlessly combines elements from Marvel comics, Men and Black, and a swath of '80s pop culture to curiously neutered effect.
    • 66 Metascore
    • 63 Clayton Dillard
    Rabin, the Last Day
    Its vantage point too loosely assembles an argument by focusing, almost obsessively, on reassembling a tangible timeline of events.
    • 21 Metascore
    • 25 Clayton Dillard
    Dirty Grandpa
    As in Judd Apatow's films, crassness is boasted as shamelessness, and calculated sentimentality is dressed up as empathy.
    • 51 Metascore
    • 50 Clayton Dillard
    Rabid Dogs
    There's no reason for Rabid Dogs to exist, as even character identity and motivation receives little attention.
    • 45 Metascore
    • 25 Clayton Dillard
    Prescription Thugs
    It's symptomatic of the one-man-show form of polemical exposé that's come to dominate, and deteriorate, documentary practice.
    • 60 Metascore
    • 63 Clayton Dillard
    A Perfect Day
    The film finally seems conspicuously at odds with itself, neither funny nor impassioned enough to pass as an accomplished vision of transnational welfare.
    • 55 Metascore
    • 25 Clayton Dillard
    Anesthesia
    Tim Blake Nelson's film immerses itself into as many pain-induced (and painful) subplots as it possibly can.
    • 62 Metascore
    • 38 Clayton Dillard
    Lamb
    Ross Partridge seems flatly fascinated by Lamb’s pathology without trying to understand its formation from environmental factors.
    • 81 Metascore
    • 88 Clayton Dillard
    No Home Movie
    By refusing to finitely define Natalia, or reduce her life to a series of biographical details, Akerman elides eulogizing of any sort, dignifying Natalia without personifying her as an idea made flesh.
    • 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.
    • 25 Metascore
    • 12 Clayton Dillard
    The Letters
    A brain-dead slog whose bankrupt aesthetics ironically soil the very legacy it purports to aggrandize.
    • 53 Metascore
    • 50 Clayton Dillard
    My Friend Victoria
    The film disappoints in its refusal to allow for deeper articulations of racism beyond, well, visible and verbal displays of racism.
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