- Date of Release: 23 October 2026
- Genre: Horror, Sci-Fi, Thriller
- Language: English
- Watch On: Theatres Only
Clayface
Introduction
The early relevance of the title of the new English film Clayface can be determined through the occupation of the protagonist Matt Hagen (Tom Rhys Harries). Here, Matt is an actor – having lived many lives, and with it many ‘faces’ that are moulded in ‘clay’ through the various performances of his career. One such performance of his has earned him an Oscar nomination, even as he does get this piece of information on the sets of his next sure-shot hit film. The clay in his craft is evident through his ‘masked’ persona of donning multiple emotions and characters, whilst using his ‘handsome’ face to great effect in containing his previously tumultuous life, before becoming an actor. And hence, the concept of a clayface goes beyond the realms of a standard body horror, almost presenting the two-faced persona of a person who could have died a hero, but instead opts to live long enough to see himself as a villain. And this arc is particularly highlighted in his journey that stems from an unprecedented rise to an unprecendented downfall, only to transform into a sea of vengeance for the protagonist without any signs of morality. Somewhere sandwiched is an unsaid commentary on stardom, something that is temporary while capable of transforming an individual into a monster.
Story & Screenplay
Written by Mike Flanagan and Hossein Amini, it is interesting on how there is a distinct dynamic that is established in Clayface, between the protagonist and his own ‘pretty’ face. It almost seems that the fate of the protagonist is directly proportional to the health of his face – a meta-drill down into a fact given that he is an actor. At the start, you see him right on top – earning an oscar nomination, appearing on a late-night talk show, and being the toast of the town, just because of his pretty face. But in a career-defining mistake of involving his mini one-night fling with Mia (Joana Ribeiro) – the girlfriend of a local gangster Markus Szabo (David Dencik), he ends up with a dismembered face; a move that directly affects his fate of being an actor.
It is interesting on how the writing treats him as a perennial underdog being positioned against the most influential gangster in the city; a Davis vs Goliath fight of sorts that isn’t always applicable in the real world that he live in. And before we know it, the protagonist loses out on his challenged courtcase, ending his journey of an actor after being unceremoniously dropped from productions; his agent and manager dump him, his BFF remains threatened enough to switch sides and in-turn earn himself a substantial role as a parallel lead, and all that is left of him is his drooping, dismembered face – a direct co-relation to his ill-fated luck!
The origin story of the protagonist is substantiated into a two-fold structure – one involving his rise to the top again, in a bid to transform himself into a superhero. And the other involving his inner darkness to transform himself into a super-villain (or an anti-hero of sorts). The former is initiated during his tryst with a doctor named Caitlyn (Naomi Ackie) – an underdog character herself who is struggling with her study on nano-cells and the rejuvenation of the human cells using AI. The subtext still remains that of illegal trials, despite the protagonist volunteering to be her guinea pig. Ironically, this subplot invariably formed a companion piece to the iconic body horror film The Substance (2024) – with a further metaphor being on the relevancy of a performer based on superficial looks.
It is interesting on how the characterization of the protagonist forms as interesting trajectory – ranging from a simplistic vengeance in the form of a comeback in front of the camera, to ultimately hunting down his perpetrators, one by one. There is a hint of Bhavesh Joshi Superhero (2018) in the manner of the vengeance, that is subverted by a searing commentary on the decaying mental health of the protagonist. The palpable metaphor again remains his drooping face, with skin peeling off or sinking to begin with – a direct reflection of his vulnerability and insecurity in the public eye; only for the same to transform into a spiralling superpower of self-healing, followed by an asterix. And needless to say that the physical representation of the same would be a resounding treat to fans of the body horror genre. I found myself squirming in my seat too, turning away in a couple of terrifyingly graphic sequences in play.
The writing is mindful to equate the repercussions of the ultimate nano-cell overdose with bouts of trauma on behalf of the protagonist. So the only time that the facial skin of the protagonist forms terrifying moments of overgrowth and a significant meltdown, is when he begins to overthink his past trauma. It almost remains a spin-off of the good versus evil template, except that both these entities lie firmly inside him. The same is represented in a terrifying mid-air sequence wherein a traumatic trigger results in a memorable body-horror scene involving the protagonist having to cut the skin overgrowth on his nearly sealed eyes, in order to ‘appear’ normal. This, while his form of healing remains his equation with Caitlyn, despite the latter being involved romantically with another character. Love heals but for how long!
One of the most fascinating aspects of the drama remains the streak of vengeance initiated by the protagonist, who turns a shape-shifter. There is a hint of humour engulfed in the multiple ‘impulsive’ killings that are entertaining and fascinating to witness. The shape-shifting and person-shifting ability of the protagonist adds to the unpredictability of the plot, something that is elevated in a brilliantly staged sequence at club Vesuvius, balancing bouts of amusement with that of intrigue.
My slight criticism about the drama remained on a bunch of fleeting shortcomings. And watch me nit-pick the flaws here🙈. One being the lack of an identity showcased by the setting, wherein the city of Gotham didn’t exactly showcase a texture of its own. Secondly, the marginal simplicity in the bunch of killings taking place, trading a layered narrative for blatant form of entertainment. And lastly, the rushed finale that didn’t particularly have a buildup towards a potential character switch on behalf of the protagonist, something that felt too abrupt and swift for my liking. That said, the subtext of decaying mental health blended with a hint of obsession is definitely in play here with regards to the protagonist (SRK from Darr (1993) anyone?) – even as the screenplay ably showcases the origin story of a frightening super-villain, the one whom we may not have heard the last of!
Dialogues, Music & Direction
The dialogues are understated while ably highlighting the varied themes of the narrative, particularly with regards to trauma and negativity along with subtle bouts of healing. The BGM is experimental in nature while doing its bit in escalating waves of tension in multiple scenes, whilst wonderfully inducing a haunting atmosphere to the proceedings.Â
The cinematography comprises of frames that offer to remorse in showcasing gory visuals of body horror. In fact, the camera utilizes extreme close-up moments that terrifyingly capture the melting texture of flesh, thereby creating a parallel with the decaying mental health of the protagonist. The visual tone remains desaturated, with muted shades of blue coordinating with shots of blood red hues. And while this creates an able ambience for the drama to thrive, it falls a little short of giving the setting an identity of its own – almost making Gotham city an afterthought as opposed to a parallel lead, being a breeding ground for supervillains. But apart from this minor criticism, the tight frames do their bit in giving the viewers a glimpse into the claustrophobic, fractured mind of the protagonist – thereby adding haunting layers of fascination and intrigue along the way.
The editing pattern is crisp enough to hold the narrative together, without shying away from displaying bouts of gore along the way. The latter is crucial is serving some memorable scenes of body horror that remain terrifying precisely because they are well-edited, even as the decaying emotional core of the protagonist forms a searing connective tissue here.Â
Director James Watkins brilliantly anchors the film’s visceral body horror in profound human tragedy, seamlessly balancing stomach-churning dread with genuine emotional depth. His patient, deliberate pacing allows the psychological tension to mount naturally, ensuring that every grotesque revelation carries significant narrative weight. He is mindful of sprinkling hints of dark humour along the way, thereby adding a new dimension to the narrative. He faintly stumbles though in the final act that lacks a layered buildup towards a major character transformation, a rare blemish in an otherwise superb drama wherein the direction is wonderful to witness.
Performances
The performances are wonderful by the members of the ensemble cast. Rob Brydon and Adam Silver have their moments to shine. Max Minghella excels as John Borrelli, providing a deeply compelling and grounded perspective amidst the surrounding chaos. He plays the role with a nuanced sincerity, effectively embodying the voice of the ongoing investigation as the world around him fractures into madness. Joshua James brings a deeply grounded and heartbreaking warmth to the film as Corey Bowery, Matt Hagen’s loyal, less successful actor best friend, heavily contrasting his demeanor of powerlessness to the monstrous persona of the protagonist.
Eddie Marsan delivers a characteristically brilliant and commanding performance as Matt Hagen’s pragmatic Hollywood manager. He perfectly embodies the callous, transactional nature of the entertainment industry, effortlessly shifting from supportive ally to clinical businessman when tragedy strikes. Joana Ribeiro delivers a magnetic and multi-layered performance as Mia Torrez, establishing a palpable chemistry with the protagonist that makes his downfall feel inevitable. She brilliantly navigates her character’s shifting loyalties, conveying immense psychological panic with minimal dialogue as the chaos unfolds.
David Dencik delivers a deeply unsettling performance as Markos Szabo, anchoring the film’s sinister underworld with chilling precision. He plays the antagonist with a calculating, quiet malice that instils a constant sense of unease whenever he is on screen. This, despite the fact that his character felt a touch underwritten.
Naomi Ackie is phenomenal as Caitlyn Corr, bringing a sharp, complex intellect and a grounded emotional presence to her role as the ambitious scientist. She navigates the character’s moral ambiguity with restraint and sincerity, allowing moments for viewers to pause and empathize with her situation. Her intense onscreen chemistry with the protagonist beautifully fuels the movie’s tragic dynamic, showcasing a brilliant internal conflict between scientific ambition and human remorse.
Tom Rhys Harries delivers a profoundly devastating lead performance as Matt Hagen, shifting effortlessly from a charismatic Hollywood star to a broken, vengeful monster. He injects a deep sense of tragic vulnerability beneath layers of practical effects, capturing the excruciating pain of a man watching his physical identity dissolve. His physical dedication to the role provides the film with its emotional core, transforming a terrifying monster into a figure of intense empathy.
Conclusion
Despite a rushed finale, Clayface delivers a searing commentary on mental health and trauma, subverting its narrative through visceral, graphic body horror wrapped in a terrifying origin story. The drama offers a haunting subtext on the human tragedy and psychological erosion caused by the side effects of stardom, providing a frightening “monstrous” character arc backed by exceptional performances. It also balances its grotesque physical transformations with a tragic emotional core, making for a gripping and compelling watch. Available in a theatre near you.