Phil Roberts 
James Watkins’ Clayface is a DC delight. Mike Flanagan’s Batman: The Animated Series-inspired story slays with its brutal, horror-and-comic-themed narrative. However, without Batman and more Clayface, any brilliance is tempered.
After this summer’s disappointing Supergirl, DC Studios returns to cinemas this week with its latest offering, Clayface. Based on the legendary “Feat of Clay” story arc from Batman: The Animated Series, the film boasts writing by Mike Flanagan, with James Watkins directing. Tom Rhys Harries joins the DC Universe as Matt Hagen / Clayface, supported by the incredible Naomi Ackie with Eddie Marsan and Max Minghella rounding out the cast.
With so much talent adapting this iconic DC storyline, one would think the studio was on course to deliver an instant classic. But without Gotham’s Dark Knight, and the story leaning toward a body horror theme, can the film deliver the DC classic we are hoping for? Or is this latest DC Studios blockbuster another feat of failure from Gotham City?
REVIEW
Well, DC fans, James Watkins’ Clayface is a DC delight. Mike Flanagan’s Batman: The Animated Series-inspired story slays with its brutal, horror-and-comic-themed narrative. It’s a visceral, deeply uncomfortable, and eye-wateringly gruesome experience that sinks its teeth into the darker side of the DC Universe! Tom Rhys Harries and Naomi Ackie form the perfect double act and help drag the story into the depths of depravity, delivering solid performances.
However, the complete lack of Batman references and the criminally brief glimpse of Clayface in his final monstrous form hold the film back from reaching its full potential. As compelling as the horror elements are, these missed opportunities temper some of the film’s brilliance, making it less the classic adaptation we hoped for and more a bold but anticlimactic take on DC’s clay monster!
A CLASSIC DC STORY
For anyone keeping score, the film draws on Bruce Timm and Paul Dini’s “Feat of Clay” story arc from Batman: The Animated Series and follows struggling actor Matt Hagen (Harries), who is monstrously disfigured after a run-in with Gotham’s seedy criminals. Desperate for a cure for his disfigured face, he stumbles upon pioneering research by Dr. Caitlyn Corr (Ackie), who has created AI-enabled nanites capable of rewriting gene cells. Together, the duo work outside the law and sidestep safety protocols to run human trials, with Hagen as the de facto guinea pig. Soon, Hagen’s life is back on track, with Hollywood glory back on the menu, but is the experimental AI ready for the real world, or are his dreams about to turn into a nightmare?
A DC DELIGHT?
For the most part, Clayface delivers on Bruce Timm and Paul Dini’s masterwork on Batman TAS, giving Flanagan a solid foundation to build his horror movie on. The creatives keep Hagan’s traditional origin story, keeping the material familiar right up until Hagan’s transformation. Forgoing the traditional comic-book style and leaning into full-body horror is a bold swing for Mike Flanagan, and it mostly lands. The writer’s effortlessly brilliant penchant for horror is out in full force, and Clayface oozes his signature style, offering audiences something wholly different from anything we’ve seen from DC so far. It’s dark, stomach-churning, and often deeply uncomfortable to watch. However, unlike the source material, this Clayface doesn’t have clay-like skin. This new creature morphs human skin, complete with bursting blood vessels.
This makes the film particularly visceral and gruesome. As a result, it shies away from the DC Universe’s traditional methodology and marks a massive tonal shift from Superman and Supergirl. Considering Clayface is a Batman villain, inserting this version of the character into future movies will be a minefield after this outing. The tone is so dark and horrific that it seems unfathomable to make Hagan conform to a PG-13/12A rating after this. He simply doesn’t fit, much like Lanterns, which crafted mature-audience-level Green Lanterns that do not fit into James Gunn’s wider universe; these feel like tonally different corners of the DCU that don’t gel, so aligning them going forward will be hellish at best.
A FEAT OF CLAY?
That being said, Matt Hagan’s horrific transformation from celebrated actor to mutilated monster is a joy to watch, with Tom Rhys Harries delivering a stellar, transformative performance. Harries deserves immense credit for exploring the striking contrast between the man Matt was before the tragedy and the scarred, tormented figure he becomes in its devastating aftermath. I applaud his conviction, because Hagan’s plight is the stuff of nightmares, and his disfigurement will resonate with audiences in spades.
Pulling off this feat of body horror requires a blend of practical effects and CGI, but sadly, the results don’t always land. Some sequences look decidedly rough around the edges, leaving much to be desired. What’s more, as Hagan’s powers of transformation begin to emerge, his shifts from one form to another happen almost instantaneously, lacking the gradual, believable body manipulation of the animated series. As a result, these transformations feel false and unearned, undermining the horror and leaving little for the audience to sink their teeth into. It’s a bizarre mix, because while he’s discovering these new abilities, the initial transformations are monstrous and fit the character perfectly. As a result, the tone is chaotic, to say the least!
SUPPORTING CAST
Adding gravitas to the story is Naomi Ackie, who brings fresh energy and conviction to her portrayal of Dr. Caitlyn Corr. Corr plays a pivotal role in the narrative, and Ackie rises to the challenge with a nuanced performance that justifies her casting. Sadly, once the nanites are injected, she slips into damage-control mode before being saddled with the tired love-interest trope, which sidelines her for much of the film’s second half. That’s a real shame. While she pops up occasionally to advance the romantic subplot and offer a voice of reason amid Matt’s quest for revenge, Corr gradually fades into the background. For a character with so much potential, it’s a disappointingly underwhelming fate.
Rounding out the core cast is Max Minghella as Corr’s fiancé, John Borrelli. A Gotham beat cop, Borrelli begins to suspect Hagan’s involvement in a series of gruesome crimes linked to his horrific injuries. It’s a largely thankless role, with Minghella appearing sporadically to move the investigation forward but never getting enough screen time to make a lasting impression. Eddie Marsan fares little better as Hagan’s crooked business manager, delivering a suitably compelling performance before his character is swiftly pushed to the sidelines. In fairness, the role feels more like a plot device than a fully realized character. But when you cast an actor of Marsan’s caliber, you’d hope to see him given more to work with. Sadly, his talents are squandered on a character who deserved far more screen time.
OTHER NOTABLES
Aside from the core cast, David Dencik shines as the token bad guy who inflicts Hagan’s horrific injuries. Sadly, Dencik’s role amounts to little more than a Gotham City crime boss archetype, and his role is wholly unrewarding. To his credit, Dencik works wonders with the material, but with fleeting appearances and nothing tangible to sink his teeth into, his role won’t leave a lasting impression once the credits roll. Joshua James also enjoys his time as Hagan’s childhood friend, but sadly he, too, isn’t given anything of substance and quickly fades.
And sadly, that is the backbone of the film. It has a wonderfully weighted story based on Bruce Timm and Paul Dini’s masterwork, and yet aside from its core cast, every other character is wholly undercooked.
ISSUES
Sadly, these aren’t the film’s only shortcomings. Much like Sony’s attempts to carve out its own corner of the Marvel universe, DC seems intent on telling Gotham City stories that barely acknowledge Batman or the defining hallmarks of the Dark Knight. It’s a bold strategy, but one that contributed to the spectacular failure of Sony’s own cinematic experiment. Clayface is DC’s first major attempt to navigate this creative minefield, and the omission of Batman is glaring. Gotham City itself is wonderfully realized, brought to life in glorious detail throughout the film. Yet within minutes, the conspicuous absence of the Caped Crusader sticks out like a sore thumb.
Apparently, in this DC Universe, crime can flourish right under the Dark Knight’s nose, with several gruesome murders failing to register on his radar. During his investigation, John Borrelli enters Gotham PD, but there’s no sign of Commissioner Gordon, Detective Harvey Bullock, or even a glimpse of the iconic Bat-Signal. More baffling still, nobody so much as mentions Batman or his ongoing crusade to rid Gotham of crime. His complete absence is frustrating, particularly when the source material draws so heavily on the Dark Knight and his world. For a film set in one of DC’s most crime-ridden cities, the lack of any meaningful connection to its most iconic protector is a glaring omission.
SOMETHING MONSTROUS
And then there’s the matter of Clayface himself. For a film bearing the character’s name, you’d expect his monstrous form to play a significant role, as it does in the source material. Sadly, DC fans may be left disappointed, as Hagan’s fully realized final form doesn’t appear until the film’s closing shot. It’s a fleeting glimpse that looks impressive, but by then, it’s too little, too late. The reveal offers a tantalizing taste of what could have been, but it ultimately fails to compensate for the film’s shortcomings.
POSITIVES
Now, despite its glaring flaws, the film does have its merits. When it sticks to the source material by Paul Dini and Bruce Timm, it excels, delivering a gripping story that’s an absolute joy to watch. Cinematographer Rob Hardy and his talented team have also crafted a glorious first look at the new Gotham City, and I cannot wait to explore it further. From the Narrows to Gotham PD, the city’s sprawling landscape looks magnificent, providing a rich visual playground for future adventures to explore.
Adding to the atmosphere is the suitably unnerving score from composer Volker Bertelmann. He has crafted a muted yet chilling and sweeping soundtrack that perfectly complements the material. Meanwhile, a handful of well-placed pop tracks provide some welcome light relief when the darkness threatens to overwhelm the proceedings. The result is a soundtrack that strikes a surprisingly effective balance between haunting intensity and playful levity. Strangely enough, it mirrors the film’s own bizarre tonal shifts perfectly, and given the unusual mix, that’s a win in my book!
VERDICT
So, how does Clayface stack up against its DC counterparts? Ultimately, it’s another mixed bag that will delight some viewers and frustrate others. When the film sticks to Paul Dini and Bruce Timm’s original storyline, it comes close to brilliance. But whenever it strays from that source material, the result is a spectacular fall from grace. Most disappointingly, its approach to bringing Clayface to life departs sharply from the original animated masterpiece, leaving plenty to be desired. Swapping clay for human flesh and blood might work wonders for a body-horror movie, but it’s a much harder sell in a comic book adaptation. Ultimately, this feels less like a true Clayface story and more like a reimagining that loses sight of what makes the character so compelling. Fans will be left wondering what might have been, because all the ingredients for a DC classic are right there on the table.
The adaptation of the original Batman: The Animated Series storyline is a genuine DC delight, making it all the more frustrating that the film’s other creative choices prevent it from reaching those same heights. It’s a great ride, but a tempered one!
So, book a ticket and head to Gotham City for a rendezvous with Clayface. It may not be a feat of clay, but this stomach-churning descent into body horror is certainly a ride you won’t forget in a hurry! Come back, Batman. All is forgiven!
Clayface morphs into cinemas on October 23.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
