DC's new film, Clayface, directed by James Watkins and based on a story by Mike Flanagan, presents a disappointing revenge narrative that struggles to engage its audience. The movie centers on up-and-coming actor Matt Hagen (Tom Rhys Harries), whose promising career is derailed after a mob boss retaliates against him by disfiguring his face. Hagen undergoes experimental surgery to restore his appearance with "nanocells," but these ultimately malfunction, granting him a monstrous form and shape-shifting abilities.
The film's initial pacing rushes through Hagen's early life, leaving little time to establish him as a sympathetic character or a compelling anti-hero. Consequently, his subsequent revenge plot lacks a strong foundation, as the protagonist comes across as a dull and shallow figure. This makes it difficult for viewers to invest in his struggle.
Supporting characters also fail to elevate the narrative. David Dencik's portrayal of mob boss Markos Szabo, the target of Hagen's revenge, feels underwhelming, lacking the gravitas of previous portrayals of Gotham's crime lords. Naomi Ackie, as Dr. Caitlyn Corr, the scientist developing the experimental procedure, delivers a stronger performance, but the attempted romantic subplot between her and Hagen feels underdeveloped. Max Minghella appears as an honest Gotham cop, but the character is given insufficient material to become significant.
While Clayface leans into body horror with some effectively grotesque sequences, it doesn't quite achieve the tension of a true horror film. The blend of genre elements feels unconvincing, resulting in a film that feels more like a standard superhero outing without a compelling hero at its center. The premise, which might have worked within a Batman film, struggles to sustain a standalone feature.
Questions surrounding the film's timing also arise, particularly its release before the established Batman within James Gunn's new DC Universe. This approach, along with the perceived early release of characters like Supergirl, suggests a premature rollout of established elements. Unlike Marvel's strategy of prioritizing key characters early on, Gunn's DC Universe appears to be presenting less foundational aspects of its world upfront, a choice that significantly undermines the film's impact and the universe's overall development.
