MUD AND GUTS
CLAYFACE (18)
Director: James Watkins
Screenplay: Mike Flanagan, Hossein Amini
Starring: Tom Rhys Harries, Ruby Sear, Naomi Ackie
Running time: 108 minutes
Cinema
Review: David Stephens
When people were considering their film bingo cards, did anyone have a Batman villain's origin story as the R-rated horror film being cinema’s prime offering for Halloween 2026? We would guess not. And yet here we are. For those not familiar with the Caped Crusader’s extensive rogues' gallery, Clayface first appeared in Detective Comics in 1940. He was Basil Karlo (no prizes for guessing which classic horror actor inspired that name), a thespian who donned disguises to kill rivals. In the 1950s, Matt Hagen assumed the mantle, a sketchy chancer with a sci-fi origin who duffed up the Dark Knight thanks to his shapeshifting superpower. Other characters have taken that name (even forming a group of ‘em called… and we’re not making this up… The Mud Pack!), but Hagen is the one most closely associated with it. Recent portrayals of him in comics, animated shows, and video games mostly depict him as a snaggle-toothed lumpy humanoid who can impersonate anyone. However, he’s certainly not a well-known character to non-comics fans. So, when the pre-production of Clayface was first announced as a DC Studios project, heads were scratched and eyebrows raised. First pitched by Mike Flanagan, it found its director in the shape of James Watkins, who gave us the pitch-black Eden Lake and Speak No Evil. British actors Tom Rhys Harries and Naomi Ackie make up the leads, but this is very much mired within the corrupt swampiness of Gotham City. Holy body-horror Batman! What can you expect?
It starts like a glossy 80s-set promo as actor Matt Hagen (a superlative Rhys Harries) speeds to an audition, learning his lines in the backseat of a limo. A rising showbusiness celebrity, his nomination for an Academy Award is announced at the studio. He gets respect from others, has genuine talent, and even seems like a nice guy for the most part. However, it just takes one dodgy decision for it all to come crashing down. He succumbs to the advances of Theresa (Ruby Sear) in a nightclub and has a one-night stand with her. When Matt wakes, he is surrounded by the goons of Gotham’s crime boss Markos Szabo (David Dencik), who considers Theresa to be his property. Szabo takes revenge by carving up the actor’s face, taking away his biggest commodity as a star: his looks. Sure enough, Matt is shunned by his representatives, and his attempt at making Szabo pay in court is doomed by corruption in the system. Now literally living on Skid Row in a cockroach-infested apartment and having to hide his distorted mug behind a face mask, he is desperate. So desperate, in fact, that he contacts experimental surgeon Caitlyn Corr (a pitch-perfect Ackie). She is in the early stages of testing ‘nano-cell’ technology (What?! Have these people never seen Jason X?!?) and may offer a way to return to his profession. Amazingly, after many treatments, his scars seem to heal. But of course, it was never going to be that easy, as his body starts to reflect his emotional chaos, leading to the creation of someone who can impersonate others and use his own flesh as a weapon.
This all sounds like it could devolve into another campy and ridiculous take on a comic supervillain. Luckily, it is far closer to Joker than it is to Madame Web or Kraven the Hunter. And it doesn’t skimp on the horror (*cue fist pump*). The first clue to this being a superior crossbreed between comics and genre comes from the choice of director, with Watkins being well-versed in the darker side of stories. He also brings to life an impressively believable version of Gotham that should be used as a blueprint for any further films set there. It breathes smoke and shits cruelty but doesn’t have the flamboyant architecture that most filmmakers gravitate towards. Dirty alleyways with strip clubs jostle alongside film sets, nightclubs, and fancy living spaces. And whilst there are several Easter Eggs and nods towards continuity with other DC Studio productions (Coast City is visited, which is Hal Jordan’s hometown in Lanterns), there are no superheroic shenanigans, extraterrestrials, or God-like powers. Hagen is never even called Clayface at any point. But there is blood, sweat, and nudity. Watkins (and CEO James Gunn) have openly admitted influences from well-regarded horror films like The Fly, The Thing and (more recently) The Substance. There’s also definitely something of Sam Raimi’s Darkman in there too.
Whilst that might feel derivative and a bit eye-rolling, those influences genuinely work to make this a fun horror romp with a bit of gooey depth. Rhys Harries is an inspired choice for Hagen (who is a combination of several versions of the character) and even looks like the 1940s version from the comics, with the tousled blonde hair. But he genuinely acts and embodies the (literally) shifting qualities of the wronged man, making his degeneration into an inhuman killer all the more effective. It’s a really good performance for what could be a one-note character. He’s ably supported by a solid Ackie, who brings some integrity to what could be a satirical take on Elizabeth Holmes… although her treatment actually works. Amid the comic-book lore and gore, an oddly old-fashioned romantic chemistry develops between the two leads, which is quite atypical for a film like this. It’s a ‘Beauty and the Beast’ type affair despite Corr’s fiancé and better judgment, whilst for Hagen it creates another twist of the screw that leads to a dark path.
The whole thing rattles along very nicely and has no pretensions, but that just makes it more enjoyable for what it is. The R-rated theme is happily embraced by all concerned with a plethora of f-bombs, but most of all for the concentration of body horror. You’ll be surprised by the gross plastic surgery sequence and delighted by the many ways Hagen finds to kill people. The aftermath of a head-smooshing and the queasy eye snipping during a turbulent flight both deserve a mention. But it all comes together in the final act, which is an absolute riot and steals the show. Let’s just say that Hagen finally masters all of his potential and puts them to good use, in a set of sequences that are unlike any other film at the moment. Right up to the grim retort… “The blood is my revenge”. This then leads to a fantastic final shot that will please comic nerds and is emotionally appropriate to everything that happened before. The cherry on top of the cake is that there is no teasing post-credit sequence involving capes or surprise cameos. In interviews, Watkins confirmed that he was never under any pressure to tie it into Superman or whatever. It’s a standalone horror that somehow provides a fitting origin for a character that was once considered a B-list villain at best.
So, it’s a real pleasure to see some early good reactions and some positive buzz for something that could have been easily written off as another hopeless Morbius mess or something. You could only imagine the memes if it were hated. Hopefully, it will be at least a moderate success, because we need studios to acknowledge the need for mature examples of this genre. Watkins even inserts some knowing pastiches of classic horror scenes, such as the CPR scene in The Thing and the final moments of The Substance. That’s not to say it’s simply stealing tropes, as the whole thing hangs together very well and tells a distinct story. It might not seem like it from the trailers, but the horror mixes very nicely with the offbeat romance and some dark humour. Additional British character actors Eddie Marsan and Rob Brydon (yes! From Gavin and Stacey) have their moments in the spotlight, and Hagen’s penchant for “playing with his victims” (who mostly deserve it, by the way) is occasionally an absolute scream. Whereas the identity-swapping in Darkman was ridiculous (how did Liam Neeson change his height?), here the body-changing is silly but stays in context, making for some fantastic plot swerves and surprises, even if a couple of them are signposted a little heavily.
It’s nice that some significant time is spent on ‘fleshing’ out Hagan and that Rhys Harries nails the key moments. Just check out the confrontation between him and his trusted buddy. Could’ve been ludicrous, but instead it’s genuinely heartbreaking. Of course, it’s not going to win over everyone. Comic-book aficionados may not be comfortable with the unapologetic body horror, and genre fans will have to fight against superhero bias. But truth be told, this is a comfortably good comic horror romp with some grade-A talent involved. The SFX (and gore) is solid, but it’s the mixture of tragedy and horror that makes it feel like a worthy return to some of the exploitation films of the 80s and 90s, greatly helped by solid direction and great performances from its leads. A success (or at least non-failure) should prove that there is a hunger for well-made horror projects like this. Who needs a Dark Knight? Take it a-clay!
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