Clayface (2026) | Film Review
Honestly… what a film.
I went into this hoping we’d finally get a proper slice of comic book horror, something willing to get its hands dirty and embrace the darker side of DC Comics. And I’m bloody happy to say that’s exactly what we get. Tragic, brutal, gloriously gruesome and packed with some genuinely uncomfortable moments, Clayface is a fantastic reminder of just how much potential there is when superhero cinema decides to venture into horror territory.
And when I say horror, I mean PROPER BODY HORROR.
This isn't just a comic book film with a few creepy moments thrown in for good measure. Oh no. This thing embraces the grotesque, the disturbing and the downright stomach-churning in ways I genuinely wasn't expecting. There were moments when I found myself wondering just how far DC was willing to go, only for the film to turn around and say, "Oh, you thought THAT was bad? Hold my beer." And honestly? I couldn't be happier.
At its heart, Clayface tells a genuinely tragic story, exploring the lengths someone will go to in the desperate pursuit of beauty and the devastating consequences of becoming obsessed with the person they see in the mirror.
Matt Hagen's journey is a particularly disturbing one, and what makes it work so well is that there's an underlying tragedy to everything we're watching unfold. This isn't simply a case of somebody turning into a monster and going on a murderous rampage. There's a deeply unsettling human element to Hagen's story, particularly when you consider his desperation to reclaim his former appearance and the increasingly horrific lengths he's prepared to go to in order to achieve it. Don’t worry folks, I’ll get to that.
The story itself is well told, with a solid narrative that gives the horror room to develop rather than simply throwing one gruesome set piece after another at the audience. There's a clear sense of tragedy running throughout, and that makes the more disturbing moments all the more effective. Because beneath all the blood, mutilation and body horror, there's a character desperately trying to hold on to something he's terrified of losing. And that's what makes this so effective.
Beauty, vanity and the obsession with maintaining a particular appearance are hardly new themes, but there's something especially disturbing about exploring them through a character whose entire existence becomes increasingly defined by his own physical transformation. Hagen's desire to restore what he's lost becomes a horrifying downward spiral and watching that obsession consume him is one of the film's strongest elements. It's tragic, it's uncomfortable, and it gives the film considerably more substance than simply being another comic book adaptation with a few nasty moments thrown in.
Let's talk about the cast, because there's some fantastic work on display here.
The performances help ground the more outrageous elements of the story, giving the characters enough humanity to make the horror feel genuinely affecting. Even when things start getting particularly grotesque, there's still a sense that we're watching a story about people rather than simply waiting around for the next opportunity to witness something horrible happening on screen.
But the real standout here? Wales’ own Tom Rhys Harries. Absolutely fantastic. Harries delivers a seriously impressive performance as Matt Hagen, capturing the character's desperation, vanity and increasingly destructive obsession with reclaiming his beauty. There's a tragic quality to his portrayal that makes Hagen a genuinely compelling character, even as his actions become increasingly difficult to stomach. What impressed me most was the way he sells Hagen's desperation. You can see just how far this man is willing to go in his pursuit of what he believes he needs. And bloody hell, does he go far.
Some of the scenes involving Hagen's transformation are genuinely staggering, and Harries does a fantastic job of making those moments feel like more than just grotesque spectacle. There's a disturbing vulnerability to the character, even when you're watching him do things that make you want to look away from the screen. It's a hell of a performance, and as a Welsh horror fan, it's particularly satisfying to see a fellow Welshman deliver such an impressive turn in a major Hollywood production. If this is the sort of work Harries is capable of, I'm certainly looking forward to seeing what he does next.
Right, let's get to the bit I really want to talk about. The body horror. Jesus fucking Christ. I absolutely love it when filmmakers commit to the horror they're trying to deliver, and Clayface deserves serious credit for doing exactly that. DC has fully embraced the darker side of this story, and it's bloody incredible to see.
Rather than treating the horrific elements as something to be quickly brushed aside, the film allows them to take centre stage. It understands that there's something deeply unsettling about watching the human body change, deteriorate and become something completely unrecognisable. And thankfully, it doesn't seem particularly interested in sparing its audience the unpleasant details. Just when you think the camera is going to cut away from something particularly nasty, the film decides that, actually, you're going to sit there and watch the whole bloody thing (90% of the time). In all its gruesome, gory detail.
Take Hagen having his face carved up during the first half of the film. Even that is genuinely difficult to watch, and it establishes early on that we're dealing with something considerably nastier than your average superhero blockbuster and set a standard for the rest of the film. But then there's the scene in the airplane bathroom…
That is the closest I’ve come to vomiting watching a film in a long time. I'm not going to spoil the details, because part of the experience is going into this film without knowing exactly what horrors await you. Go enjoy, just maybe skip the concession stand if you don’t have the strongest stomach. But I will say that this sequence is a perfect example of how effective body horror can be when filmmakers understand that sometimes the most disturbing thing you can do is simply force your audience to look.
And look they do. The use of extreme close-ups throughout the film is particularly effective. There's something deeply uncomfortable about being forced to examine every horrible little detail, especially when the imagery is already making you question why the hell you decided to watch this film in the first place. This treads that same thin line that body horror classics such as Society, The Fly and The Substance do, and it’s great, disturbing and disgusting in equal measure.
It's not just about showing something disgusting. It's about making the audience feel trapped with it. You can't look away quickly enough. You want the camera to cut. You desperately hope the next shot will be something a little less stomach-churning. And then it gets worse. Much worse.
For horror fans, this is an absolute treat. For anyone who struggles with graphic bodily mutilation, well… perhaps don't go into this one expecting a particularly pleasant evening at the cinema. I mean, what did you expect from a film about Clayface? A nice little romantic comedy?
Of course, the body horror isn't the only thing Clayface has going for it. The film also fully embraces the gore, violence and gruesome deaths you'd expect from an 18-rated horror production, and once again, it's genuinely refreshing to see a DC film willing to go this far.
The deaths are brutal, nasty and increasingly difficult to watch, with the violence seemingly becoming more intense as Hagen's killing spree progresses. And bloody hell, some of these kills are memorable. The final one in particular – if you know, you know.
There's a real sense of escalation throughout the film. As the story progresses, the violence becomes increasingly disturbing, and the filmmakers clearly aren't afraid to push things further when the opportunity presents itself. It's the sort of film where you can find yourself sitting there thinking, "There's absolutely no way they're going to show us that." And then they do.
What I particularly appreciated was that the violence feels connected to the horror of the story rather than existing purely to shock the audience. Yes, there's plenty here designed to make you squirm, wince and question your own sanity for paying to watch this stuff, but it also reinforces the increasingly horrific nature of Hagen's transformation. There's a genuine nastiness to the proceedings that I absolutely loved.
Clayface (2026) | Film Review
And let's be honest, horror fans have been asking for more films willing to push the boundaries of mainstream genre cinema for years. Seeing a DC production embrace this level of brutality is something worth celebrating. DC Comics has always been the darker between them and Marvel, so it’s great to see them actually pursuing this avenue instead the oversaturated, family friendly crap Marvel’s been dishing out for the last few years. Give me more of this, please.
Now, I'm not going to spoil anything here, but I do have something to say to those of you who are particularly familiar with Clayface prior to going into this film. You’re going to enjoy this one. While I'm not going to reveal the specifics, there are glimpses of a much more comic-accurate Clayface that should leave fans with plenty to get excited about. And it's bloody brilliant to see.
One of the things I find particularly exciting about comic book adaptations is seeing filmmakers take characters and concepts that fans already know and find interesting ways to bring them to life on screen. When it works, you get something that respects the source material while still delivering an experience that feels fresh and exciting.
Clayface certainly gives comic book fans reasons to be happy, and I suspect there will be plenty of people discussing certain moments long after the credits have rolled. What's particularly encouraging is that the film doesn't seem afraid of the character's more grotesque potential. Clayface is a character whose abilities lend themselves perfectly to horror, and seeing that potential explored properly is incredibly satisfying. There's so much you can do with a character who can manipulate his own appearance and transform his body into something monstrous. The possibilities for genuinely disturbing imagery are practically endless. And after seeing what this film manages to do, I'm even more interested in seeing where the character goes from here.
Visually, Clayface does a fantastic job of bringing its more grotesque moments to life. The effects are impressive, particularly when the film gets into the more extreme aspects of Hagen's transformation. There's a real sense of physicality to much of the horror, and the imagery is often convincingly disturbing. Considering how much of the story revolves around the human body becoming something else entirely, the effects work has a pretty important job to do. If the transformations don't look convincing, the entire thing falls apart. Thankfully, that's not really a problem here.
The film delivers some seriously impressive visuals, and there are moments where the sheer grotesqueness of what's happening on screen is enough to make you appreciate the amount of work that has gone into bringing these sequences to life. That said, I would have liked to see more practical effects. Now, I'm not going to sit here and pretend that CGI has no place in a film like this. Clayface is a character whose abilities practically demand at least some digital work, and there are certain things that simply wouldn't be possible to achieve convincingly using practical effects alone (unless your Christopher Nolan).
But when it comes to body horror, there's something special about practical makeup, prosthetics and physical effects. There's a tangible quality to them that can make even the most outrageous transformations feel horribly real. And, of course, when practical effects are done well, they can be absolutely spectacular. I would have loved to see the film lean even further into that approach, particularly during some of its more intimate and uncomfortable sequences. Still, the effects we do get are fantastic, and they certainly deliver the goods when it comes to making the audience squirm.
Now, before anyone starts accusing me of blindly praising everything DC puts out, let's talk about some of the film's shortcomings. Because, as much as I enjoyed Clayface, there are a few things that I did have issue with.
The biggest issue for me is the pacing. There are moments where the film drags a little, and certain sections could have benefited from a tighter edit. While the story itself is solid, the rhythm isn't always quite as effective as it could be, and there are stretches where I found myself wishing things would move along a little faster.
It's frustrating because the film has such a strong central concept, and when it gets going, it's genuinely compelling. The problem is that the momentum occasionally dips when it should be building towards the next big development.
I'd also have liked to see more body horror. Yes, I know. I've spent a considerable amount of this review talking about how disgusting and difficult to watch certain scenes are, so asking for MORE leads me to thinking, “What’s wrong with me?” (woah don’t go down that rabbit hole). But hear me out.
The film establishes a fascinating premise with Hagen's transformation and his desperate attempts to reclaim his former appearance. There's so much potential for exploring the physical and psychological consequences of what he's going through, and I would have loved to see the film push those elements even further. I wanted more of that desperation. More of the increasingly horrific lengths Hagen is willing to go to. More moments where his obsession with beauty takes him somewhere truly disturbing.
There's a fascinating horror story here about vanity, identity and the lengths people will go to in order to become the person they think they should be. And while the film explores those ideas well, I think there's room to take them even further. The more horrifying Hagen's transformation becomes, the more interesting his character gets. I would happily have spent more time watching that descent into complete madness and obsession, particularly if it meant getting a few more scenes that left me questioning why I’m watching this film in the first place.
And then there's Gotham City. As an introduction to James Gunn's Gotham City, Clayface left me wanting a little more. Don't get me wrong, I understand that this isn't a Batman film. The story is about Matt Hagen, his transformation and the horrific consequences of his obsession. I'm not expecting Batman to suddenly swing through a window, punch someone in the face and steal the entire film (although that would’ve been EPIC). But considering the wider DC cinematic universe, I would have liked to see a little more of Gotham and the world surrounding Hagen.
More importantly, I would have liked to see a few subtle nods to Batman's presence. Look, I'm not asking for a full-on Batman cameo. I don't need Robert Pattinson, Batfleck (God we need more Batfleck) or whoever ultimately ends up wearing the cowl in this particular corner of the DC universe, to appear out of nowhere and start throwing Batarangs at people. But a little world-building wouldn't have gone amiss.
For example, during the scenes set in the police precinct, imagine seeing a news article about 'The Bat' pinned to one of the noticeboards in the background. Nothing major, just a subtle reminder that Gotham has its own resident nightmare stalking the streets. Or perhaps some of the criminal characters could behave as though there's a very real possibility that a giant bloke dressed as a bat might appear out of the darkness and rearrange their faces at a moment's notice. You know, just a little something to establish the atmosphere of Gotham and the world these characters inhabit.
It wouldn't need to take up any meaningful screen time, and it certainly wouldn't distract from Hagen's story. In fact, little details like that could help make the setting feel more alive and interconnected. Because Gotham City is practically a horror setting in its own right. It's a place filled with corruption, violence, criminals and people who have been pushed to their absolute limits. And with Batman already an important part of the wider DC universe, I think there's a real opportunity to lean into that darker atmosphere.
Again, I'm not saying the film needed Batman. It absolutely didn't. But a few subtle references would have been a welcome addition, and I hope future DC projects make more of an effort to establish how these characters and their respective stories fit together. There are a few Easter Eggs for Batman fans, but on the whole I was disappointed with that aspect. Still, this is a relatively minor complaint in what is otherwise a very solid film.
To conclude, I'm incredibly happy with Clayface. This is exactly the sort of film I want to see more of from DC. It's dark, it's tragic, it's brutal, and it isn't afraid to embrace the horror elements of its source material. The story is well told, the cast are fantastic, and Tom Rhys Harries delivers a seriously impressive performance as Matt Hagen. The effects are excellent, the violence is gloriously nasty, and the body horror is easily one of the film's biggest strengths.
As I said, the film has it’s issues, but these are relatively minor complaints when you consider just how much this film gets right. More importantly, Clayface proves that there's enormous potential in exploring the darker corners of the DC universe through horror. Not every comic book film needs to be a massive superhero spectacle filled with CGI battles, world-ending threats and characters exchanging witty one-liners while the city collapses around them. Sometimes, a smaller, nastier and more personal story can be every bit as effective. And sometimes, all you need is a tragic character, a disturbing premise and a filmmaker who's willing to show you things you really, REALLY wish you hadn't seen. This film certainly delivers on that front.
I'm already itching to see more of Clayface, and the thought of eventually seeing this character go up against Batman has me genuinely excited. Me in particular, I would love to see the legend behind Jack Reacher and Thad Castle, Alan Richardson, don the cowl. Finally seeing them throw down is going to be great regardless. For those who can't wait, go check out the two 'Feat of Clay' episodes (eps. 20 & 21) from 90s gem Batman: The Animated Series (which is currently available on Prime by the way). I know I will be re-visiting them whilst I wait for Clayface's return.
There's so much potential there, particularly if DC continues to embrace the darker, more disturbing elements of its comic book universe. Imagine what they could do with that. And that's what excites me most about Clayface. It feels like a reminder that comic book adaptations don't have to be confined to one particular style or tone. There's room for horror, psychological drama, tragedy and genuinely grotesque storytelling, all within the same universe.
DC Comics, PLEASE continue embracing the dark side of your characters. Give us more horror. Give us more practical effects. Give us more disturbing imagery, more brutal storytelling and more films willing to push their audiences outside their comfort zones. If Clayface is a taste of what's to come, then I'm already desperate for seconds.
