"Clayface" Review: DC Delivers a Disturbing Tale of Identity, Obsession, and Revenge
DC Studios takes a noticeably darker turn with its latest DC Universe entry, “Clayface.” James Watkins directs the film from a screenplay by Mike Flanagan and Hossein Amini.
Matt Hagen (Tom Rhys Harries) is an aspiring actor who just received an Oscar nomination, and his se career is shattered after a brutal attack leaves his face disfigured. Desperate to reclaim his appearance and livelihood, Matt turns to Dr. Caitlyn Corr (Naomi Ackie), whose experimental treatment offers hope. Unfortunately, the procedure produces horrifying consequences that gradually transform Matt into something unrecognizable.
One aspect I appreciated about “Clayface” is its willingness to embrace body horror without relying solely on CGI. The practical makeup effects are particularly impressive, making Matt’s physical deterioration genuinely uncomfortable to watch. A sequence involving his eyes during an airplane flight is especially effective, demonstrating how Watkins can generate tension from something as simple as losing control of your body.
Harries delivers a committed performance, capturing Matt’s desperation without turning him into a sympathetic victim at every opportunity. Ackie is effective as Caitlyn, whose professional interest gradually becomes something more personal. Their relationship provides the film with an emotional foundation, though the screenplay could have explored her motivations more thoroughly.
As Matt becomes increasingly dependent on Caitlyn, his desperation evolves into obsession. The film raises an intriguing question: can someone truly love another person, or do they love what that person represents during a difficult time? The supporting cast also delves into that aspect, whether it’s Markos Szabo (David Dencik), the mob boss who disfigures Matt, or Matt’s manager, Frank (Eddie Marsan)
Unfortunately, “Clayface” occasionally loses momentum when the narrative shifts toward revenge. While Matt’s anger is understandable, several confrontations feel repetitive, and the screenplay doesn’t always use the psychological possibilities of his shapeshifting abilities effectively.
Another missed opportunity involves Matt’s acting career. We are repeatedly reminded of how much performing meant to him, yet we never fully understand his passion for the craft. Exploring that connection would have made his transformation and subsequent loss of identity even more devastating.
Watkins deserves credit for creating a comic book adaptation that boldly explores darker themes. Gotham’s bleak atmosphere, unsettling effects, and powerful performances distinguish “Clayface” from conventional superhero films. I also appreciated that the filmmakers avoided turning the story into an extended promotional piece for future DC projects.
“Clayface” works best when examining the tragic irony of a man who gains the ability to become anyone while losing himself. It’s an unsettling premise that deserved a somewhat sharper screenplay.
Final Grade: B-
“Clayface” is in theaters now.
