Clayface: An Ambitious Introduction to Horror for DC​

By: Myriam Akbar

The supervillain origin story in cinema typically blends genres rather than sticking to the typical comic-book film formula. For example, the tragic psychological thriller, Joker. Or the sci-fi action flick, Venom. When the teaser dropped for Clayface, the newest DCU project, audiences were shocked to find out that it would be a body horror film. What started as speculation based on the visceral skin-stretching scenes in the trailer was later confirmed by the filmmakers–DC is expanding into the horror genre. Clayface is directed by James Watkins, based on a story by Mike Flanagan, who was inspired by “Feat of Clay,” an episode of Batman: The Animated Series. However, despite being credited as a writer, the script that was used was primarily crafted by Hossein Amini. Busy with other projects, Flanagan stepped away from directing, and Amini worked on the script revisions.

Flanagan has a reputation as being one of the most consistent and respected voices in horror, especially for his film and television adaptations. Naturally, the word that he would be involved led to a spectrum of reactions and expectations. There was uncertainty from those unfamiliar with his work, anticipation from fans of the genre, and curiosity across the board. There was an added layer of pressure, following the unfortunate box office performance of the DCU’s Supergirl (2026). On the other hand, the success of this year’s Lanterns reminded people what DC is capable of, highlighting the effectiveness of a more serious tone. I personally have enjoyed Flanagan’s films more than his shows; however, Carrie was absolutely fantastic. Regardless, it’s evident that he’s a skilled filmmaker. While I’m unfamiliar with Amini’s work, I’m a fan of Watkins’, so I knew Clayface was in good hands.

The film holds a 77% Tomatometer score, a 7.5 IMDB score, and a 3.8 rating on Letterboxd. However, audience scores are much higher than those of the critics. As a body horror film, it was certainly successful as it became the highest grossing of all time. Many social media reactions have been positive, praising the dark tone and gory violence. On the other hand, some viewers have pointed out script issues and personal critiques, like the Gotham City setting. Based on reviews, it appears that Clayface does a better job at being a body horror film than it does being a DC villain origin film—and for the most part, I agree.

My Thoughts:

Clayface met my expectations, and it’s in my top 10 of the year, being that it’s a mixture of my two favorite things—DC Comics and horror. However, I can’t say that it blew me away like I thought it would. The film demonstrates that comic book films still have something unique and refreshing to offer. While it may have satisfied my thirst for this mixture of genres and reduced what critics are calling “superhero fatigue,” it doesn’t fully achieve its potential. Don’t get me wrong, I thoroughly enjoyed it, but it’s missing a few aspects that could have made it the best DC film of the 2020s.

Spoilers coming…

Clayface explores how quickly one’s life can turn dark—from hopeful and thriving to violent and empty. The story follows Gotham City native Matt Hagen, an actor entering the height of his acting career. During a night of partying, he unknowingly hooks up with mobster Markos Szabo’s girlfriend and is brutally attacked as a consequence. Not only is he slandered in the media, but he also doesn’t receive justice because of Szabo’s influence. Unable to find work due to his appearance, he is forced to return to Gotham. Hagen contacts an experimental scientist, Dr. Caitlyn Corr, and begs her to perform a procedure that will repair his mutilated face. It’s only successful long enough for him to briefly experience the remnants of his old life. The unexpected and terrifying side effects become the catalyst for his tragic villain origin, transforming him into a shape-shifting clay entity. Met with betrayal and rejection, Hagen's descent into madness and thirst for revenge begins.

From what I’ve read about Flanagan’s inspiration for the film, it seems to be within his plans. It blends details from the comic books and Batman: The Animated Series, while inventing something completely new. It balances a tragic story about loss of identity and livelihood with one of violent revenge and obsession to demonstrate the complexities of how Clayface becomes a villain to begin with. A man who just wanted to thrive in his career and make his mother proud unexpectedly loses everything after one bad decision. The building blocks of the story make sense—Physical appearance is critical to booking roles, but it’s also a factor behind Hagen’s arrogant actions the night of his attack. My favorite aspect of the DC character’s lore is that his shape-shifting abilities also connect to acting, having to become different people and try on new personalities when playing various roles.

Dr. Corr performs a nanobot treatment designed to regenerate skin and bone tissue, one that has a built-in kill switch. When Hagen notices his face essentially melting, he injects himself with more nanites, giving him new abilities and intensifying his condition. Audiences aren’t exaggerating about the body horror elements being top-notch in the film, and they’re woven into more than just the aftermath of the attack and procedural process. The side effects and Hagen’s attempts to treat them create gag-worthy scenes that will make you cover your eyes. There’s a scene during his killing spree where he uses the plasticity of his body to consume another, crushing them to death. I haven't been able to get it out of my head. You can see on his face that his rage and sorrow are taking over at this moment. The nanotechnology in Hagen’s blood is another example, being used in a gory and creative kill scene that impressed me.

Hagen quickly develops romantic feelings for her that intensify due to the mutation. After her fiancé confronts him about the recent killing spree, his uncontrollable impulses result in a need to use the kill switch. Dissolving into a liquid form, he pours into the sewer drains. The final scene truly solidifies the film as a tragedy because it’s not only easy to empathize with Hagen’s overall story, but where he ends up is incredibly bleak. It’s revealed that although he survives the kill switch, he now lives underground in his full monster form. It’s shown that he occasionally steps out into society, disguised as a panhandler, and even runs into Dr. Corr. Forced back into isolation, he spends his time fantasizing about her forgiving him and them being in love.

Both Tom Rhys Harries (Hagen) and Naomi Ackie (Dr. Corr) deliver performances that demonstrate a deep understanding of their characters. Harries brings charm and confidence to his role, while also being able to show Hagen’s desperation and unhinged state. Dr. Corr is a critical component of the film, being partially responsible for his situation, yet also a safe space for Hagen. Ackie has a warm and resourceful presence, acting as the only real support system he has. Her devastation regarding her failed experiment is shown through fear and regret. Her facial expressions are naturalistic and believable, giving a Dr. Frankenstein-like performance.

While I think they’re both great fits for the film, one of my main criticisms is that their chemistry felt forced and disingenuous. It’s obvious Hagen’s feelings are heightened by the nanobots, yet it’s clear that they both share a connection. I don’t even think the story needed the romance at all; it felt more like an afterthought or insignificant subplot. It would have been more effective if they had known each other longer, possibly being friends in high school. Dr. Corr was also engaged, which makes his decision to sleep with Szabo’s girlfriend seem like a pattern. I don’t expect him to be perfect, but I think it’s more effective to have what happened at the nightclub be an isolated mistake.

Speaking of nightclubs—the scene where Hagen takes out Szabo’s gang is badass, but also brings in a lot of humor. While his use of shape-shifting to confuse the enemy literally made me laugh out loud, it made the tone less consistent. I find that a lot of comic book films rely on humor to make characters likable and relatable, but it’s not always necessary and is often distracting. I think another issue with the tone is that although Hagen’s attack is brutal, Szabo isn’t an intimidating protagonist. With this being a horror film, it would have made all the difference to have this scene filled with tension and dread. It was abrupt, quick-paced, and felt like it was holding back.

What Clayface needed to reach its full potential as a villain origin story isn’t a Batman cameo; it’s more about who Hagen was before the accident. While watching, I found myself waiting for a scene of him as a child or teen. It’s expressed that he had it rough growing up, and he briefly mentions his mother, but that’s all we get. A flashback of him and his mother struggling to survive poverty in Gotham City or him being a theater kid in high school would have added tremendous depth to the film. Interviews have been circulating, revealing that scenes showing his upbringing and parents were cut. This is disappointing because not only was it needed, but you can tell that scenes were cut. For example, a random cameo by Aaron Paul confused audiences. While I noticed it, I thought it was just for laughs. Apparently, he was supposed to play Hagen’s abusive father, but this entire subplot was cut from the story to focus on his turn to the dark side. However, the end result of that is lazy and confusing.

Why does Clayface work as a body horror film?

The essence of body horror is more than the visceral effects of an external transformation; it’s also about who one becomes internally, as they lose control of their autonomy. It’s the discomfort and fear surrounding what the body can become, as well as who we can become. From the moment Hagen is attacked, he is changed forever. He loses his career, sense of identity, and faith in humanity. After receiving treatment, he is further pushed into an uncontrolled and unstable state. Our closeness to his character is limited because the attack happens so early in the film and there’s no flashbacks, but it’s without a doubt that the person Hagen is in the third act is not who we saw in the first. It’s also clear in the final scene that he is at a point of no return, having fully altered physically and psychologically.

Photo Source: IMDB.com