Now, even though the Summer cinema season is over and the multiplex content is shifting toward more serious awards contenders, that doesn’t mean that comic book superheroes are going to “sit it out” for a couple of months until AVENGERS: DOOMSDAY. Neither are the supervillains, in case you were wondering. This weekend’s big “popcorn flick” isn’t from the MCU. Rather, it’s from the “guys up the street” (as Deadpool calls them). Here comes the third release from the “re-formatted’ DC Studios, headed by James Gunn and Peter Safran. Their SUPERMAN soared while his cousin SUPERGIRL certainly didn’t (that crash left quite a box office “crater”). Now they’re going to the “dark side”. Sony has done that with their “Spider-verse” spin-offs with the webbed wonder’s foes. There’ve been three VENOM flicks, but don’t hold your breath for the return of MORBIUS or KRAVEN THE HUNTER. Now it’s DC’s turn, so watch out, “Bat-baddies” CATWOMAN and JOKER. Coming to the big screen (finally in “live-action”) is that malleable, morphing menace, CLAYFACE.
This “origin” story begins on a really great day for “up-and-coming” movie star heartthrob Matt Hagen (Tom Rhys Harries). On a bright, sunny morning in Coast City (hey, you “Lanterns” fans), he reports to the set of his new picture just as it’s announced on live TV that he’s nominated for a big acting award. Of course, he’s going “clubbing” that night to celebrate, alongside his childhood pal from the tough “Narrows” section of Gotham City (home base of “you-know-who’), struggling actor Corey Bowery (Joshua James). The lucky streak continues as he connects with a stunner on the dance floor, an actress named Mia (Joana Ribeiro). Corey warns Matt that she’s the “arm candy” of a big-time mobster, but she’s solo tonight. But in the early morning hour, at her plush pad, Matt’s luck “turns bad”. Very bad. The duo awaken and see that the bed is surrounded by crime kingpin Marcos Szabo (David Dencik) and his “goon squad”. As Mia dashes away, the “boys” hold Matt down as Marcos takes a razor to Matt’s “million-dollar mug”. Even after several surgeries, he’s horribly disfigured and must wear a mask in public. While he recovers, Marcos and Mia “blitz” the media with the “spin” story that Matt had an accident after drugging her. Not even Corey will back up his pal (he’s fearful for his family). The trials with a bribed jury and judge cost Matt everything (his manager made bad investments, and his agent “drops him like a rock”. It’s back to a “dump” in the Narrows for Matt. He wallows in self-pity until he runs across an article on scientist Caitlyn Corrr (Naomi Acki), who has developed “nano-cells” that repair disease-damaged skin. Matt tracks her down just as she’s about to lose her lab (others have ripped off her methods), and offers himself up as a test subject. When she finally agrees, the results are staggering. It looks like Matt’s back, until the “cure” doesn’t “hold” (“I’m melting! Melting! What a world!”). But after he gives himself an “overdose” of the serum, Matt gets an unexpected “bonus”. He can meld himself into anyone’s image (like clay). Could this be his “return ticket” to stardom? And will this new “talent” enable him to exact revenge on Marcos and all those who wronged him?
After cutting his acting “teeth’ on a few minor movie roles and TV shows, Harries makes the big leap to a title-role leading man. You’d never know, since he lends lots of high-gloss swagger and confidence to the role of (just a bit of a stretch) Hollywood “hottie” (think early Leo and Brad) Matt Hagen.But when things take a turn, Harries also conveys that desperation when everything is taken by cruel fate (wrong lady, wrong night). Then he shows us that yearning turns to obsession, not only for his “healer”, but for vengeance. We see a pretty decent guy turn into a truly horrific monster. Ackie is also very good as the genius trying and failing to “rein” him in, mixing fear and attraction. Plus, she’s dealing with a personal conflict as she’s emotionally torn between Matt and her long-time fiancé, rare honest Gotham City cop John, well played with a gruff, tough-guy bravado by Max Mighella. Two Brits score in supporting roles: Eddie Marsan as Matt’s grifting manager and Rob Brydon as a grinning, slightly sinister late-night TV talk show host.
Director James Watkins (SPEAK NO EVIL) deftly shifts the film’s tone from “Tinseltown” satire (the excesses of super-stardom) to a dark mix of crime thriller and science “gone really wrong”. He meshes the recent body horror of THE SUBSTANCE (with lots of practical make-up effects and a bit of CGI), the 80s classic THE FLY remake, and a whole lot of the 90s “you’d think he came from a comic book” DARKMAN (using tech to take down thugs). Much of this comes from the script penned by Mike Flannigan (inspired by the wonderful “Feat of Clay” episodes of the iconic Batman animated series from 1992) and Hossein Amini. It also evokes the notion of the “creature” that dishes out justice to the evil “normals” that was a 70s horror staple (THEATRE OF BLOOD comes to mind). The biggest problem with the film may be that it’s trying too hard to shock and earn its “R” rating (a hard “R” at that). The mutilation of Matt is presented in long, gory detail, which may evoke lots of wincing (and shifting in the multiplex seats). And later, as Matt tests his powers by slicing his own flesh, it veers into the big problem (especially with teens) of “self-harm”. And we’re to accept the “magic” of the “nano-cells”: They can simulate clothing and aid you in vocal mimicry. Matt becomes almost unstoppable, but not infallible, as he uses his acting “improv” skills when he dons a new persona. The big finale “showdown” is a bit of a “letdown” as it never really concludes a major plot turmoil (I won’t spoil), and sets a follow-up in motion. Still, it’s nice to see a comic-based film go so boldly into horror territory, and it is a solid “B-picture” style entry for the new studio (the changing of the owners). As far as supervillain flicks go, CLAYFACE breaks the mold (and luckily it’s far from “moldy”).
2.5 Out of 4
CLAYFACE is now playing in theatres everywhere
