Clayton Dillard

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For 144 reviews, this critic has graded:
  • 24% higher than the average critic
  • 2% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 11.2 points lower than other critics. (0-100 point scale)

Clayton Dillard's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Madam Phung's Last Journey
Lowest review score: 0 Nothing Bad Can Happen
Score distribution:
  1. Positive: 56 out of 144
  2. Negative: 58 out of 144
144 movie reviews
    • 77 Metascore
    • 100 Clayton Dillard
    With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
    • 79 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.
    • 82 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.
    • 76 Metascore
    • 88 Clayton Dillard
    Even Les Blank's most conventional work remains an elusive vision, punctuated by cultural insights that elude many filmmakers for their entire careers.
    • 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.
    • 84 Metascore
    • 88 Clayton Dillard
    Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
    • 65 Metascore
    • 88 Clayton Dillard
    It revives hope for a pop-art cinema that's capable of treating characters like actual human beings rather than pawns on a chess board.
    • 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.
    • 69 Metascore
    • 88 Clayton Dillard
    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.
    • 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.
    • 83 Metascore
    • 75 Clayton Dillard
    Director Brett Morgen distinguishes the biographical documentary by viewing himself as more of a curator than a film director.
    • 83 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.
    • 71 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.
    • 68 Metascore
    • 75 Clayton Dillard
    Stations of the Cross acknowledges that putting theoretical behaviors and mindsets into practice can have unwieldy consequences if context and intent are wholly ignored.
    • 37 Metascore
    • 75 Clayton Dillard
    Michael Winterbottom's film is a mess of tones, but not of ideas, which could well sum up the director's prodigious but uneven oeuvre.
    • 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.
    • 64 Metascore
    • 75 Clayton Dillard
    The film is a compelling addition to Sebastián Silva's cinema of compassionate comeuppance.
    • 79 Metascore
    • 75 Clayton Dillard
    Charles Poekel displays an assured directorial hand and maintains a modest, appealing, even droll sensibility throughout.
    • 71 Metascore
    • 75 Clayton Dillard
    The film at first plays like a refresher and throwback to Hayao Miyazaki's Kiki's Delivery Service, before revealing itself to be less minimal than minor.
    • tbd Metascore
    • 75 Clayton Dillard
    North Korean culture is lensed in part through a South Korean perspective, with the final chapter asking: “Is reunification possible?”
    • tbd Metascore
    • 75 Clayton Dillard
    If the documentary isn't quite dynamic in its revelations, it's considerably more so in its challengingly essayistic presentation.
    • 79 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.
    • 77 Metascore
    • 75 Clayton Dillard
    The film is unwaveringly attentive to problematizing the dividing line between predator and prey.
    • 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.
    • 88 Metascore
    • 75 Clayton Dillard
    According to the film, individual misdeeds aren't the final enemy, but the byproduct of an unregulated regime.

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