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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    • 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.
    • 88 Metascore
    • 75 Clayton Dillard
    Democrats
    According to the film, individual misdeeds aren't the final enemy, but the byproduct of an unregulated regime.
    • 72 Metascore
    • 63 Clayton Dillard
    Censored Voices
    By negating more conventional, facts-first priorities, Mor Loushy creates an alternative historiography that's more meant to be felt than learned.
    • 77 Metascore
    • 75 Clayton Dillard
    Mediterranea
    The film is unwaveringly attentive to problematizing the dividing line between predator and prey.
    • 77 Metascore
    • 100 Clayton Dillard
    Madam Phung's Last Journey
    With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
    • 64 Metascore
    • 50 Clayton Dillard
    Steve McQueen: The Man & Le Mans
    The film forsakes all ambiguity regarding McQueen's psychology by stubbornly defining him as a determined, charismatic womanizer.
    • 68 Metascore
    • 63 Clayton Dillard
    Sembene!
    The film unfolds as a kind, politically soft offering of what lies beneath both Sembène's films and the man himself.
    • 69 Metascore
    • 50 Clayton Dillard
    What Our Fathers Did: A Nazi Legacy
    The conclusion suggests the film exists to affirm the preconceived desires and perceptions of its makers.
    • 65 Metascore
    • 50 Clayton Dillard
    The Royal Road
    The cumulative effect is altogether perplexing, as it's difficult to tell if Olson's trying to upend clichés or settle for them.
    • 69 Metascore
    • 25 Clayton Dillard
    The Armor of Light
    It doesn't trust the inherently complex material to speak for itself or care to consider its consequences beyond instances of manufactured, gut-wrenching immediacy.
    • 64 Metascore
    • 75 Clayton Dillard
    Nasty Baby
    The film is a compelling addition to Sebastián Silva's cinema of compassionate comeuppance.
    • 84 Metascore
    • 88 Clayton Dillard
    Heart of a Dog
    Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
    • 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.
    • 50 Metascore
    • 12 Clayton Dillard
    Trash
    Director Stephen Daldry, working from an exploitative script by Richard Curtis, opts for a full-on Slumdog Millionaire imitation.
    • 73 Metascore
    • 75 Clayton Dillard
    (T)error
    It displays a staggering propensity for examining its unauthorized scenario without succumbing to either too insular or too general a set of assertions.
    • 36 Metascore
    • 25 Clayton Dillard
    Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
    • 81 Metascore
    • 63 Clayton Dillard
    Arabian Nights: Volume 2, The Desolate One
    It forays into satirical terrain in order to elide actual dealings with the problems at hand, so that each piece feels alternatively frivolous and weighty.
    • 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.
    • 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.
    • tbd Metascore
    • 75 Clayton Dillard
    Songs from the North
    North Korean culture is lensed in part through a South Korean perspective, with the final chapter asking: “Is reunification possible?”
    • 36 Metascore
    • 63 Clayton Dillard
    The Perfect Guy
    It uses convention to its advantage through an intriguing play with casting choices and bizarrely effective allusions to film history.
    • 70 Metascore
    • 50 Clayton Dillard
    Home from Home: Chronicle of a Vision
    For all of its evident toil in recreating historically accurate environments and researching the precise conditions in varying regions, it has little force as a work of cinema.
    • 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.
    • 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.
    • 57 Metascore
    • 25 Clayton Dillard
    Break Point
    A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter, kicking and screaming, into their mid 30s.
    • 39 Metascore
    • 50 Clayton Dillard
    Zipper
    It wants for a keener vision of corrupted power, but at least Mora Stephens navigates her main character's sudden slew of infidelities without banalizing them.
    • 82 Metascore
    • 63 Clayton Dillard
    The Second Mother
    Character relations are hinted at and even primed for confrontation, but without payoff or meaningful conclusion.
    • 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.
    • 11 Metascore
    • 12 Clayton Dillard
    Some Kind Of Beautiful
    A hodgepodge of horny-old-man clichés writ large, staged as a gleeful affirmation of its male lead's ego and entitlement.
    • 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.
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