For the first time in years, film fans can enjoy a comic book movie isn’t desperate to be a comedy routine or a cameo factory.
“Clayface” is surprisingly dark and focused.
When the DC film universe stops chasing formulaic Marvel movies and leans into grittier territory, it often produces instant classics like “Joker,” “The Batman” and “The Dark Knight.” While “Clayface” certainly doesn’t reach those heights, it remains a refreshing change of pace.
The film follows Matt Hagen, an acclaimed actor whose life is drastically altered after a Gotham mob boss, Markos Szabo, carves up his face with a knife, effectively ending his career and ruining the good looks that helped define his stardom.
He desperately turns to a highly experimental medical treatment. After horrific and unstable side effects begin, he takes justice into his own regenerating hands.
The movie’s biggest flaw is its hesitation. Despite its R rating, it rarely commits to the disturbing body horror that should be its defining feature. It feels tame at times, possibly tied down by the fact that the character will likely be used in future films with more traditional comic-book-movie styles.
As a villain origin story, it succeeds. But as a body horror narrative, it falls short when compared to a film like “The Substance,” which explores similar themes regarding the grotesque cost of preserving fame in a looks-obsessed industry. “Clayface” struggles to flesh them out with the same depth or shock value.
At times, the screenplay can feel clunky, predictable or heavy-handed. Szabo, in particular, suffers from over-the-top character writing that renders him more of a mob-boss caricature than a credible threat in Gotham’s underworld.
In contrast, Hagen is relatively easy to sympathize with, partly due to a good acting performance by Tom Rhys Harries.
The film genuinely excels when it’s actually portraying moments of visceral horror. The face-melting visual effects truly land, and things get gruesome. These parts are elevated by effective cinematography, at times utilizing extreme close-ups to drive home the terror.
The movie just needs more scenes like this, and with a relatively simple plot, there was definitely room for them. Where “Joker” and “The Substance” thrived on their willingness to embrace unhinged chaos, “Clayface” often feels afraid to take the leap.
On a technical level, it’s well-crafted with the exception of some noticeable automated dialogue replacement throughout. The soundtrack and score do a nice job matching the changing tones of the film. The visual effects aren’t revolutionary, but they’re good enough to get the job done. And the bleak and moody lighting punctuated by harsh red and green neons truly captures the decaying city of Gotham.
The movie still has its moments, and with a runtime under two hours, it never gets boring or feels like it’s dragging on. Outside of Hagen’s own body horror, some of his kills are inventive and bloody, also standing out as highlights whenever the film takes advantage of its R rating and fully embraces the gore.
Ultimately, “Clayface” is an enjoyable movie and an engaging origin story for a promising character. It’s an interesting blend of comic-book action and body horror. Even if it’s lacking in body horror compared to “The Substance,” or not as strong a character piece as “Joker,” it’s still a worthwhile addition to the DC film universe, and it’s easily the brand’s best entry since “The Batman” in 2022.
