Just like a masterpiece emerging from the kiln, the clay must first endure scorching and long-lasting burns, a lesson Matt Hagen learns in the most brutal way possible in DC’s new thriller “Clayface.” The latest entry under the DC Studios banner strays away from the classic superhero mold, and delivers a twisted old-school body horror nightmare. Directed by James Watkins and co-written by Mike Flanagan and Hossein Amini, together they introduce a new psychotic villain to James Gunn and Peter Safran’s first chapter in the DC Universe, “Gods and Monsters.” It’s a gloopy and unexpectedly human monster movie and one of the most interesting things DC has made in years.
The story centers on Matt Hagen, played by Tom Rhys Harries, a street kid from Gotham who rose from nothing to movie stardom. His life then flips when an injury leaves experimental nano cells in his bloodstream. His body begins to morph, and as he becomes more familiar with who he is becoming, he turns his attention to the people who have wronged him. The premise of the movie is simple; however, this setup is something relatable for everyone: the fear that what you built your life on can be taken away in an instant.
Harries is the film’s secret weapon, and he completely deserves the praise he is getting. Early on, his character seems completely relatable, and is someone people can easily empathize with, making the charm he offers early on hurt later on. When Matt starts to unravel, Harries plays him with real vulnerability. He’s frightened, furious, and extremely aware of what he’s losing. A body-horror film completely depends on whether you can feel the pain alongside the lead, and Harries makes sure you do.
Director James Watkins, who previously made the “Speak No Evil” remake, knows how to make the audience feel squeamish in their own seats. The transformation sequences are truly what make the movie. They’re gooey, wet, and uncanny, with Matt Hagen’s flesh behaving abnormally, carrying a different kind of intimacy that superhero films rarely attempt. This is an R-rated movie that earned the rating, not one that just slapped the R-rated title due to a few lousy curse words. For a franchise that is very much defined by the safety superheroes bring, it is thrilling to watch something so willingly be defined by its ugliness.
The movie also benefits from its modest scale. At 108 minutes, it moves fluently and never overstays its welcome. There’s no cluttered cast of cameos or a mandatory setup for the next ten movies. It is a contained story that allows for the audience to easily follow along, with the lower budget allowing for a scrappy energy that suits the material. When the practical effects and grit work together, the results align with a heavy-hitting creature feature from the peak of monster cinema rather than just a modern franchise product.
The independence of the movie is also one of its biggest selling points. There are no Batman cameos and no post-credits scene to wait around for, so anyone can walk in blindly and enjoy. You don’t need to know the lore, the comics, or the cartoon. If you do know them, there are some nods to the character’s tragic roots and its long history as a villain defined by loss rather than malice.
Critics haven’t been unanimous, as many have deemed the film uneven or too restrained. I’d argue that being deemed as uneven or too restrained is a fairly good price to pay for a movie that is willing to take real risks. It is a film that swings for the curveball, rather than settling for the low-hanging fruit. With most of the punches the film takes landing, it leaves you with plenty to think about once the credits roll, from the cost of fame to the horror of becoming unrecognizable to yourself.
Those looking for a standard crowd-pleasing superhero movie may want to look elsewhere. But if you want a gothic, gooey, character-driven thriller that treats its monster with sympathy as well as menace, “Clayface” is a treat. It proves the DC Universe has room for horror, and it gives Harries a star-making showcase. Ultimately, it leaves audiences wanting more from this darker side of DC.
