Clayface

Clayface is the newest entry into the DC Universe and is one of the most unique entries into the comic book film world, filled with visceral body horror and convincing performances that overcome a frustrating script.

As a self-professed Batman nerd, the idea of doing a Clayface film struck a positive chord with me more than the general audience that either had never heard of the character or questioned why one of the earliest films in the embryonic DC Universe would be a film about a secondary Batman villain. However, knowing that the pitch for this was a low-budget David Cronenberg -esque body horror with a partial script from Mike Flanagan and taking inspiration from one of the most beloved Batman: The Animated Series episodes, “Feat of Clay” and Sam Raimi's Darkman, this was certainly a film I was excited about.

Clayface follows Matt Hagen (Tom Rhys Harries), a rising actor who is on the cusp of making it to the peak of his career, but after being targeted by a section of the Gotham mob, his face is cut to shreds, ruining his career. He seeks out help and becomes entangled with Dr Caitlyn Corr (Naomi Ackie) before realising this choice goes down a very dark path. Rounding out the cast are Max Minghella as Caitlyn’s lover and a GCPD cop, David Dencik as the mob boss Markos Szabo, and Eddie Marsan as Frank Fitzpatrick, Matt Hagen's manager.

Clayface has had various incarnations with various backstories, but the one that has stuck with comic readers and the audience is that of an actor whose face is disfigured and relies on an experimental drug to save his career. It is a tragic backstory and one that has the potential to be an amazing character study involving themes of celebrity culture, societal pressures of appearance, addiction, and self-harm, and how there is a monster inside us all.

The film’s greatest strength is its body horror and gore. Not for the faint-hearted, it feels more like a horror film than a comic book adaptation and is one of the few comic book films rated 18 by the BBFC in the UK. Its influences include The Fly, The Thing and Brian Yuzna’s films. Made for 30 million, it uses practical effects to convincing effect, while the CGI for Clayface’s final form holds up well given the budget. Clever camerawork and editing showcase his shapeshifting abilities, culminating in the film’s standout sequence: a phenomenal nightclub fight. The third act takes the film up a gear as Matt’s skin and mind truly melt into Clayface.

Matt Hagen’s characterisation is another strength. His initial charm makes his disfigurement and unravelling life sympathetic, but the film gradually reveals that he is no anti-hero: he is an outright villain. Solo films about villains often recast them as anti-heroes or misunderstood heroes. Clayface avoids that approach, and I admire its

commitment to the character. We can sympathise with Matt while recognising that he will eventually need to be stopped.

The script keeps the film from greatness. Its dialogue is blunt and basic, its villain cartoonish and one-dimensional, and its revenge plot predictable. These elements work, but their simplicity prevents the film from becoming a compelling character study. It touches on celebrity culture and the pressures of appearance in society and Hollywood, yet prioritises revenge over exploring those themes. 

A powerful story about acceptance lies beneath the surface but never fully emerges. The first act needed more time to establish Matt Hagen’s success and the scale of his loss, giving us reasons to sympathise beyond his desire for revenge. I wonder what the film might have been had it been delayed to allow Mike Flanagan to direct and contribute more to the script. At times, it also feels as though scenes have been cut to shorten the film.

Clayface is a breath of fresh air in the comic book genre with fantastic body horror and a great character in Matt Hagen that delivers a pulpy revenge story. However, a more focused script and longer runtime could have made this film a brilliant character study.