“Clayface” is a middling pile of clay

Across nine live-action “Batman” films and their many spin-offs, there have been six different portrayals of the Joker, five for Catwoman, three Penguins, two Two-Faces and two Harley Quinn. But prior to the release of DC Studio’s body-horror film “Clayface,” and despite being one of the Dark Knight’s first ever comic book villains, debuting in 1940, the titular villainous character had never been adapted for the big screen.

“Clayface” is the newest project in filmmaker James Gunn’s new DC Universe (DCU) to be released this year, following “Supergirl” and the HBO television series “Lanterns.” While all three of these projects are vastly different in scope and story, what each of them have in common is the inability to live up to the quality and success of 2025’s “Superman.” While it is perhaps the strongest DCU project in a post-“Superman” world and captures the essence of its lead character, “Clayface” suffers from a fair share of storytelling problems and is, unfortunately, middling at best. 

Directed by James Watkins, “Clayface” follows Matt Hagen (Tom Rhys Harries), a rising movie star from Gotham City who is sent on a downward spiral after an encounter with the mobsters that shakes up, not only his acting career, but his entire life. Left with a scarred and mutilated face, Hagen is left unable to continue his acting career and is caught within a controversy, eventually turning to the help of Dr. Caitlyn Corr (Naomi Ackie). Corr, a fringe scientist, runs experiments on Hagen in hopes to regenerate his damaged skin. As the film progresses, things begin to unravel, with Hagen inadvertently gaining the ability to alter his appearance into anyone he chooses before becoming a living piece of clay as an unforeseen consequence, losing his sanity in the process.

The film is heavily influenced by the “Batman: The Animated Series” two-part episode “Feat of Clay,” which reimagined Hagen’s backstory from the comics, and envisioned the character as a once successful actor who is disfigured in a car accident. As a result, Hagen starts abusing a chemical drug that allows him to reshape his face however he pleases. 

One major change “Clayface” makes — other than the complete exclusion of Batman — is the decision to make Hagen an up-and-coming hot-shot as opposed to a veteran actor. Depicting Hagen as a young actor who has just received his first Academy Award nomination makes his untimely mutilation all the more tragic. Despite that, one thing “Clayface” does exceptionally well is its utmost commitment to making Hagen an undeniable villain as opposed to an antiheroic figure by the end of the film. 

The highlight of the film is the lead performance by Harries. When Hagen is first introduced in the film’s opening moments, the audience is instantly met by Harries’ undeniable charm. He infuses Hagen with such a sense of both confidence and humanity, making the fictional celebrity feel like a real public figure ripped from a headline. As the character experiences several life-altering events, Harries never loses sight of Hagen’s humanity or what makes this performance particularly special. Even at the end of the character’s journey, Hagen’s descent feels earned rather than arbitrary or over the top, though the film itself feels a little disjointed and not fully realized.   

Harries’ performance is accompanied by exquisite makeup design that allows for hauntingly chilling body horror. It’s particularly overwhelming to watch as Hagen’s body adapts to its new physiology as it shifts in ways that are both grotesque and strangely intimate. The practical effects make Hagen’s gradual yet bizarre transformations feel less like a typical superhero’s power evolving and more like a body betraying itself, which makes these moments particularly disturbing to watch. 

In terms of other characters, Harries is surrounded by forgettable, one-note performances. Ackie’s performance of Hagen’s “love interest,” Dr. Corr, is just fine, but the character functions more as a plot device as opposed to a fully realized character. 

Where “Clayface” succeeds are in aspects that successfully embody the spirit of this greatly underrated character. Where it ultimately fails is in finding its own cinematic voice. The film feels like a rehashing of Todd Phillips’ “Joker” (2019), relying heavily on the aesthetic that it created — a tragic figure surrounded by a dark, uncaring world. “Clayface” also borrows the visual imagery of both “Joker” and “The Batman” (2022), as opposed to creating its own brand-new depiction of Gotham City, preventing “Clayface” from feeling visually distinct. 

Though the character has been around for over 80 years, “Clayface” still bears undeniable similarities to “The Substance” (2024). Both films follow struggling actors utilizing some sort of drug to regain what they have lost, in this case, their respective beauty and good looks. Additionally, both films utilize body horror to showcase the cost of trying to reverse the irreversible. Still, the difference in filmmaking is apparent; “The Substance,” despite having a much lower budget, is far more appealing visually and aesthetically, as well as auteur-driven, whereas “Clayface” sort of embodies the unoriginal nature of the studio superhero genre. And while Harries’ performance is much deserving of praise, he is no Demi Moore. 

There is a script issue as well, with dialogue often feeling clunky, undeveloped or overwritten. The cinematography is dreadful; there is an overreliance on backlight coming from street lamps in almost every scene. Even interior scenes are lit by blinding lights outside that overexpose the image and make it harder to see the respective actors’ faces and their surroundings. The dreadful visuals are made worse by frequent use of green screens. 

It may be the best DCU-released project of the year, but “Clayface” still has its own fair share of issues. Generic and undercooked, it is ultimately just “fine” and that would be okay, if there weren’t elements throughout the film that could have allowed for something truly great. 

Rating: 6.5 /10

This article appeared in the Oct. 29 print edition of the Daily Nexus.