Clayton Dillard
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For 65 reviews, this critic has graded:
  • 24% higher than the average critic
  • 1% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Clayton Dillard's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Li'l Quinquin
Lowest review score: 0 Nothing Bad Can Happen
Score distribution:
  1. Positive: 27 out of 65
  2. Negative: 24 out of 65
65 movie reviews
    • 78 Metascore
    • 100 Clayton Dillard
    It resembles a satirical treatise of self-reflection, functioning simultaneously as a summation of Bruno Dumont's thematic interests over the previous two decades and as a bonkers remake of Humanité.
    • 74 Metascore
    • 88 Clayton Dillard
    A ferocious plea for character salvation within a milieu where money and bodily affect are the raison d'être for human existence.
    • 80 Metascore
    • 88 Clayton Dillard
    Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.
    • 85 Metascore
    • 88 Clayton Dillard
    Broomfield isn't so much dedicated to journalistic truth or social ethnography as he is displaying bodies and mindsets of individuals that complicate any sense of Manichean polemics, where good and evil must be reckoned with at a purely secular and corporeal level, particularly along the lines of class and gender.
    • 82 Metascore
    • 88 Clayton Dillard
    It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
    • 87 Metascore
    • 75 Clayton Dillard
    Lukas Moodysson's film allows its trio of girls to express themselves through gender, certainly, but not undermine their desire to be heard as artists first.
    • 84 Metascore
    • 75 Clayton Dillard
    Director Brett Morgen distinguishes the biographical documentary by viewing himself as more of a curator than a film director.
    • 82 Metascore
    • 75 Clayton Dillard
    It evolves into an intimate reverie on family and aesthetics, while remaining sporadically attuned to the reflexive and ethical dimensions of ethnographic discovery.
    • 72 Metascore
    • 75 Clayton Dillard
    What progressively mounts tension is the film's understanding of a boy's gradually realized homosexuality as being inextricable from the central metaphor of compromised vision.
    • 66 Metascore
    • 75 Clayton Dillard
    The ghostliness of the Kunsthistorisches Museum in Vienna derives from an identity crisis, where digitization threatens to eradicate the gallery space.
    • 47 Metascore
    • 75 Clayton Dillard
    It avoids the typical trappings of the genre pastiche by utilizing its clear indebtedness to numerous other films as merely a starting point, rather than an end.
    • tbd Metascore
    • 75 Clayton Dillard
    It convincingly insists that the human figure is no more vital to the image than the rapidly shifting landscape it inhabits.
    • 76 Metascore
    • 75 Clayton Dillard
    It convincingly reconciles private passion with public desire by suggesting that, for women in particular, the 21st-century limelight is always on, no matter the setting or venue.
    • 65 Metascore
    • 75 Clayton Dillard
    The film's music is the city itself as well as a subtle suggestion that Tim Sutton's own digital cinema is just as elusive and intangible as Willis's unwavering sense of dissatisfaction.
    • tbd Metascore
    • 75 Clayton Dillard
    Charles Poekel displays an assured directorial hand and maintains a modest, appealing, even droll sensibility throughout.
    • 81 Metascore
    • 75 Clayton Dillard
    Lafleur denies Nicole the angsty treatments given similar characters in films like The Graduate and Frances Ha by refusing to saturate the film with an undergirding sense of charm, where the issues being faced are merely points of spasmodic uncertainty that will erode over time.
    • 57 Metascore
    • 75 Clayton Dillard
    János Szász's film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
    • 70 Metascore
    • 75 Clayton Dillard
    Adept as both timely character study and epochal drama, Test wonderfully manages fully formed humanism without sentimentality.
    • 64 Metascore
    • 75 Clayton Dillard
    Alex Gibney uses archival and Broadway footage so seamlessly that telling the difference between reality and recreation becomes not only difficult, but one of the film's central metaphors.
    • 66 Metascore
    • 63 Clayton Dillard
    Jennifer M. Kroot plays things a bit too straight and safe by giving into basic emotional and thematic possibilities of each period in Takei's prolific early life and subsequent Hollywood career.
    • 65 Metascore
    • 63 Clayton Dillard
    The film finally works because of its multitudinous interests in adolescent shell-shock, where paralysis and uncertainty can only be momentarily assuaged through gendered outrage.
    • 89 Metascore
    • 63 Clayton Dillard
    If it ultimately can't reconcile all that's presented in its too-brief runtime, that's largely because its situation, much like the dissonance between those involved, is comprehensibly irresolvable.
    • 64 Metascore
    • 63 Clayton Dillard
    Thomas Allen Harris's documentary consistently takes agency away from the art itself with a litany of talking heads.
    • 66 Metascore
    • 63 Clayton Dillard
    Superbly acted and sporadically intriguing thriller, yet it has a difficult time locating more stringent meaning and significance beyond its outward narrative of duplicitous actions and veiled motivations.
    • 65 Metascore
    • 63 Clayton Dillard
    Josef Kubota Wladyka is ultimately unable to reconcile complex dynamics any further than with a glimpse toward their fundamentally destructive effects.
    • 51 Metascore
    • 63 Clayton Dillard
    It falls into the trappings of middlebrow literary adaptation by finding only sporadic means to convincingly adjudicate the trauma and anguish of its transitory epoch.
    • tbd Metascore
    • 63 Clayton Dillard
    This adaptation is to concerned with narrative fidelity and formal objectivity to pierce the veil of power dynamics that largely comprises the film's concerns.
    • 61 Metascore
    • 50 Clayton Dillard
    It masks depleted drama under a progression of long takes, various music cues, and a three-chapter structure that grows successively tedious.
    • 65 Metascore
    • 50 Clayton Dillard
    In abandoning a more vigorous discussion of class and race-based senses of entitlement, Marshall Curry reveals his goals to be less critical or rigid than passively honorific.
    • 66 Metascore
    • 50 Clayton Dillard
    There's edifying information in the documentary, but it's tainted by forced dramatic tactics.

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