Superhero fatigue is real, but DC Universe’s latest film, Clayface, delivers a refreshingly dark, twisted cure. This R-rated feature dives into the origin story of one of Batman’s lesser-known villains — boldly subverting typical comic book formulas. But what truly sets it apart is its commitment to body horror, bringing a new sense of thrills to the genre.
The film follows Matt Hagen (Tom Rhys Harries), an actor riding high after a major award nomination that has him poised as Hollywood’s next golden boy. However, a celebratory night out takes a dark turn when he becomes entangled with a dangerous crowd, leaving him brutally disfigured.
The impact is swift. He’s losing roles, his finances are drained, and he is left hopeless after every surgery. He hears about a potentially revolutionary new medical technique led by Dr. Caitlyn Corr (Naomi Ackie), which seems to be his final hope of fixing his face. But unbeknownst to him, it comes with one crazy side effect.
This is unlike any superhero film we’ve seen with these big epic blockbusters. As mentioned before, it leans into body horror, with The Fly (1986) serving as one of the film’s inspirations. It was undoubtedly a huge risk for DC. And it’s something that perhaps could have only been greenlit with James Gunn heading DC Studios, given his love of the genre. But it totally pays off.
The practical effects in this are gruesome. So if you’re the squeamish type, prepare yourself. From the moment we see Hagen’s attack, to the procedures he endures, to how his body mutates throughout the film. There’s a very tactile element to it all, which is a relief with how often things are relegated to CGI. And it’s impressive, especially considering this only had a budget of around $30 million.
But it doesn’t just confine itself to body horror. It dips into the psychological for a good portion, using trippy effects and clever transitions to give Hagen an almost Jekyll/Hyde quality. It also speaks to how Hagen moves through different personas, starting playful but becoming a bit unnerving.
And it’s no surprise the film excels in the horror department with genre filmmakers behind the camera. Director James Watkins has a few films under his belt, including the traumatizing Eden Lake. And it was none other than horror icon Mike Flanagan who crafted the initial story and co-wrote the script with Hossein Amini. Each of them ensured it would hold up as a genuine horror film, not just a superhero side quest.
At the end of the day, Clayface is a tale of betrayal. And it’s heartbreaking to see Hagen realize that and to see how he becomes consumed by this mission of revenge. The way he molds himself into other people, like an actor hitting his mark — which is a clever tie-in to his career. It’s also so satisfying to watch him go after those who did him wrong. Even though it means he falls deeper into a darker mindset.
It’s also interesting to hear how this version of him differs from the source material. As someone not fully aware of the character beforehand, it sounds like he is not a great person in the comics. This film keeps it very grey. For all we know, he is a kind person in the movie. And I like that more in terms of someone being able to be molded into something villainous, even if they aren’t inherently bad.
And most of that attachment to the character is Harries’ performance. He’s charismatic and charming, and you do empathize with him and understand his desperation. He also has fantastic chemistry with Ackie, and they have this will they, won’t they that takes the story on some really interesting twists and turns.
Clayface is a delightful surprise. A comic adaptation that breaks away from the expected, which was much needed. Though it sort of speed-rolls through the beginning, once it settles in, it’s wonderful. It crafts some genuinely thrilling sequences, and although it lives in this world of Gotham, it’s not hyperfixated or overelyant on other characters. While some may want more tidbits of heroes and villains, I actually loved it feeling like a standalone.
Clayface is in theaters now!
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