Cinema Review: Clayface (2026)
Directed by James Watkins
Screenplay by Mike Flanagan and Hossein Amini
Story by Mike Flanagan – Based on Characters from DC
Produced by Matt Reeves, Lynn Harris, James Gunn & Peter Safran
Main cast: Tom Rhys Harries, Naomi Ackie, David Dencik, Max Minghella, Eddie Marsan, Rob Brydon, etc.
Cinematography by Rob Hardy
Based on the DC Comics character, Clayface (2026) is a surprisingly effective slice of body horror that successfully channels the spirit of classic films such as Frankenstein (1931), The Phantom of the Opera (1925) and Eyes Without a Face (1960), alongside more contemporary offerings like Darkman (1990), Upgrade (2018) and The Substance (2024).
The story follows an up-and-coming actor Matt Hagen (Tom Rhys Harries) whose promising career takes a horrific turn after he sleeps with the wrong woman and ends up brutally disfigured at the hands of a generic gangster (David Dencik). Enter Naomi Ackie as a scientist who offers him a second chance, using AI-driven nanotechnology to reconstruct his face. Unfortunately, as with all good mad-scientist experiments, things don’t quite go according to FDA regulations, and the results are predictably gruesome.
What makes Clayface (2026) work is that it takes time to establish its characters before plunging them into what is, essentially, a fairly generic revenge story. The narrative doesn’t exactly break new ground, but the character development gives the ensuing carnage some emotional weight. There are some wonderfully grotesque moments of body horror, effective kills, impressive gore and some decent performances that help elevate the material beyond your average comic-book adaptation.
Further, the thematic exploration of the pursuit of narcissistic perfection inherently destabilizing the character of Matt Hagen, is extremely prescient. Given society’s ongoing obsession with surgical and pharmaceutical “enhancements” being employed, his character arc provides some mild thought provocation. The weight-loss drugs and cosmetic surgery photos of skeletal and puffy-faced celebrities that adorn social media today make them look more like the monstrous painting in the attic of Dorian Gray, rather than being the peak of attraction.
My main criticism of Clayface (2026) is the rather jarring use of a 1970s/80s soundtrack, particularly the disco dancing inexplicably interspersed with the climactic fight sequences. It’s a strange tonal choice that occasionally undermines the horror and tension, as though the filmmakers couldn’t decide whether they were making a tragic monster movie or a tongue-in-cheek superhero romp. Basically, James Watkins, a very capable director, could not override the influence of James Gunn’s obsession with pop-culture-trailer-bait nonsense.
Nevertheless, Clayface (2026) is an entertaining, suitably nasty and surprisingly character-driven addition to the DC universe. Harries and Ackie give excellent performances amidst the CGI and practical effects, also sharing great on-screen chemistry. Ultimately, the film wears its literary, comic-book and cinematic influences proudly, delivering some terrific gore and, refreshingly, remembers that even monsters need a little humanity. And, notwithstanding the disco dancing, I actually really enjoyed a DC comic book adaptation for the first time in quite a while.
