Stories that revolve around a face seem to be somewhat disturbing. We see people based on their looks all the time and do not feel anything unusual about it – unless the movie is challenging us to come to terms with the consequences of losing the very thing we take for granted. This somewhat uncomfortable notion is at the heart of Clayface, the new horror movie by DC directed by James Watkins.
The plot centers on Matt Hagen played by Tom Rhys Harries who is an up-and-coming actor with everything it takes to make it big. However, a savage encounter with a crime lord from Gotham brings him to the state of complete disfigurement of his face. The business that once welcomed him therefore has no use for him anymore. Matt is not just suffering physical damage; he is watching his identity disappear. Unable to deal with the situation on his own, Matt turns to Dr. Caitlyn Corr (Naomi Ackie) who has an experimental treatment for him.
The intriguing aspect of this story is that Matt’s issue goes beyond vanity. The loss of one’s appearance is a disaster in a world where appearances can determine one’s destiny. The question posed in the film is whether one can preserve one’s identity in a world that deals predominantly with one’s image. Matt longs to get his old visage back. Yet as he goes through changes, it seems that the person becomes harder to recognize.
The film's main draw is body horror, and it does not shy away from disturbing transformations. Clayface takes something familiar and bends it into horrific forms, forcing the viewers to ponder on the tenuousness of the human form. Watkins is not afraid to use the grotesque to his advantage, as the film's dark scene and noir atmosphere contribute to making it feel unlike any other superhero one.
Harries has a demanding role because Matt needs to be sympathetic without becoming innocent of every choice he makes. The character is proud, wounded and increasingly desperate. Harries gives that mixture a human centre, helping the stranger parts of the story land. Ackie also brings intelligence to Dr Corr. She is not simply a scientist who explains the plot; her curiosity and responsibility pull her in different directions. Their relationship adds tension because care, ambition and danger become difficult to separate.
Still, Clayface is not perfectly shaped. Its ideas about beauty, celebrity and identity are stronger than some of the writing connecting them. At times, the plot moves toward familiar revenge-thriller territory, and a few emotional turns could use more room. The film raises questions that are more interesting than some of the answers it gives. That unevenness keeps it from becoming the fully haunting character study it sometimes seems ready to be.
I believe that the film thrives from not relying on prior films for viewers’ understanding of Matt Hagen’s tragedy. Gotham serves as an element of environment rather than a homework assignment, which allows the film’s story to be more peculiar, unpleasant, and intimate.
Clayface is not going to please everyone. Those not inclined to enjoy graphic body horror may find some scenes shocking; whereas those looking forward to a colorful super hero story full of jokes may need to rethink their wish. However, for people who like dark films, it offers something new. The film’s main achievement is making a comic book villain appear as a weak human being either therefore being able to become him once again or lost control over body and mind.
The film raises a straightforward question in my mind: what happens if the world loves only the face we show? Clayface does not necessarily answer the question, but it certainly gives it a disturbing shape that makes this DC release one of the more unusual.
