REVIEW: Clayface (2026 Film) - Starring Tom Rhys Harries, Naomi Ackie, David Dencik, Max Minghella and Eddie Marsan

Review by Jon Donnis

Clayface is a thoroughly gruesome and surprisingly effective body horror thriller that takes a lesser-known DC Comics character and turns his origin into a disturbing story about identity, obsession and revenge. Rather than relying on familiar superheroes or connections to the wider DC Universe, it focuses on one man's transformation from a promising Hollywood actor into something barely recognisable as human. I came away impressed by how confidently it embraces its horror elements, even if its revenge story occasionally follows a familiar path.

Tom Rhys Harries stars as Matt Hagen, an actor whose career appears to be taking off after an Academy Award nomination. That promise is shattered when crime lord Markos Szabo has him brutally disfigured. Unable to work and increasingly isolated, Hagen sees his future slipping away until he discovers Dr Caitlyn Corr, played by Naomi Ackie, and her experimental treatment for damaged tissue.

The treatment initially seems miraculous, restoring Hagen's appearance and offering him the chance to reclaim his career. However, the results come with consequences neither Hagen nor Caitlyn fully understands. His body develops extraordinary regenerative abilities, allowing him to recover from injuries and alter his appearance, but his mental state deteriorates as his obsession with regaining control takes hold.

What makes Clayface work is that Hagen's downfall feels rooted in more than the physical transformation. His disfigurement destroys the life he has built, exposing how readily people abandon him once he no longer fits their expectations. The film uses Hollywood's obsession with appearance to establish a world where personal worth is often tied to how someone looks and what they can offer. It is an uncomfortable idea, and one that gives Hagen's suffering a recognisable foundation before the story becomes increasingly grotesque.

Tom Rhys Harries gives Hagen enough vulnerability to make his initial desperation understandable, while allowing the character to become genuinely frightening as his resentment grows. The film does not ask us to excuse his increasingly violent behaviour simply because he has been wronged. Instead, it shows how his desire for revenge gradually consumes whatever remains of the person he once was.

Naomi Ackie provides a strong counterpoint as Caitlyn Corr. Her scientific ambitions lead her to develop a treatment with extraordinary potential, but she soon finds herself struggling to control its consequences. Her relationship with Hagen becomes increasingly uncomfortable as his understanding of love shifts towards obsession and possession. Caitlyn's predicament gives the story an important human dimension, particularly as she begins to realise that the man she wanted to help may be beyond her ability to save.

The supporting cast serves the story well, although not every character receives enough development. Eddie Marsan's Frank Fitzpatrick and David Dencik's Markos Szabo provide the betrayal and cruelty that fuel Hagen's revenge, while Max Minghella's John Borrelli adds an investigative thread. However, these characters sometimes feel more like obstacles for Hagen to overcome than people with compelling stories of their own.

The revenge plot is also fairly predictable. Once Hagen discovers the full extent of his abilities, the direction of the story becomes increasingly apparent. There are few surprises in the basic progression from victim to avenging killer, and I would have welcomed more complexity in some of the relationships driving the narrative. Fortunately, the film's execution is strong enough that this rarely becomes a serious problem.

Where Clayface really distinguishes itself is in its body horror. The practical and computer-generated effects are spectacularly grotesque, turning Hagen's changing body into a source of genuine discomfort. Flesh stretches, faces distort and his physical form becomes increasingly unstable. The imagery is often revolting, but it serves a clear purpose, reinforcing the horror of losing control over the very thing that defines your identity.

There is plenty of gore, and some scenes are likely to make even seasoned horror fans wince. What I appreciated is that the effects do not feel like a collection of gruesome moments assembled purely for shock value. They are closely tied to Hagen's transformation, making his deteriorating physical condition an extension of his psychological collapse. The result is considerably more effective than a conventional monster film that relies on violence alone.

The film also benefits from its pacing. Hagen's transformation develops steadily, with his changing abilities reflecting his increasingly unstable personality. The story rarely feels as though it is standing still, and the progression from desperate victim to dangerous killer is handled with enough momentum to maintain interest throughout. Even when the plot becomes predictable, the increasingly disturbing consequences of Hagen's actions keep the experience compelling.

The final act is particularly effective because it brings the film's central themes into focus. Hagen becomes so consumed by his desire to recover the life he believes he deserves that he loses his ability to distinguish reality from fantasy. His physical transformation is horrifying, but the psychological collapse behind it is what gives the ending its impact. By this point, the tragedy is not simply that Hagen has become a monster. It is that he can no longer recognise what he has lost.

Clayface is not without its limitations. The supporting characters could have been more fully developed, and the revenge narrative lacks the unpredictability that might have made it truly exceptional. Its graphic body horror will also divide audiences. Anyone expecting a conventional DC superhero film may be taken aback by the relentless focus on disfigurement, bodily transformation and gore. This is very much a horror film, and viewers who are unprepared for its more unpleasant sequences may find it difficult to stomach.

I am also not convinced that the character necessarily needs to become a recurring presence in the DC Universe. The film works because it concentrates on Hagen's personal tragedy, rather than trying to establish him as another major villain. His origin is compelling, but its strength lies in telling a complete story about one man's destruction, not in setting up future appearances.

Ultimately, Clayface is an excellent body horror thriller that makes the most of its unusual comic book origins. Its revenge story may be familiar, and some of its supporting characters deserve more attention, but the effects, pacing and central performance make it a memorable experience. More importantly, it understands that the most disturbing part of Hagen's transformation is not what happens to his body, but what happens to his mind.

I thoroughly enjoyed Clayface. It is a bold, frequently revolting and consistently engaging film that takes its premise seriously and delivers a genuinely unsettling origin story. It may not appeal to everyone, particularly those looking for a traditional superhero adventure, but its willingness to embrace the darker side of the character is precisely what makes it work.

For me, Clayface comes remarkably close to getting everything right. It combines effective psychological horror with spectacularly unpleasant effects, while giving its central character a tragic journey that extends beyond the usual tale of a villain seeking revenge. It is one of those films that leaves a stronger impression because it refuses to look away from the ugliness at the heart of its story.

I score Clayface a solid 9.5 out of 10

In Cinemas Now

Coming Soon to Digital

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REVIEW: Superman (2025 film) - Starring David Corenswet, Rachel Brosnahan and Nicholas Hoult

NOTE: The following review is a truly independent review, unlike other influencers, bloggers and writers out there, here at BeenToTheMovies.com we have no interest in being "prioritized for future opportunities", we write what we want, as our journalistic credibility is worth more than a promise to gain access to future press junkets.

Oh and the following review does include some spoilers!

Review by Jon Donnis

James Gunn's Superman is the first entry in the new DC Universe, a clean slate for the franchise and a chance to finally give the Man of Steel a fresh cinematic identity. And in parts, it does exactly that. There are flourishes of real charm, a few surprising laughs, and the odd burst of visual spectacle. But somehow, despite all the noise and colour, it doesn't leave much of an impression.

It opens in familiar territory. Krypton crumbles, the baby Kal-El is launched into space, and the Kent family takes him in. That emotional thread still works, even if we've seen it countless times before. By the time we're reintroduced to Clark Kent in Metropolis, he's already an established superhero. The Daily Planet dynamic is in place, Lois knows the truth, and there's even a loyal dog with superpowers. So far, so comic-book classic.

But instead of letting that foundation breathe, the film dives headfirst into a crowded political crisis involving fictional countries, a shadowy war, and a billionaire who wants to be a god (Bill Gates?). Lex Luthor, played by Nicholas Hoult, is at the centre of it, trying to manipulate public fear and government paranoia to get Superman out of the way. On paper, it's timely. In practice, it feels a bit thin. Hoult never quite sells Luthor's menace. There's no real weight behind his threats, and the performance feels oddly youthful, more petulant than powerful. The role needs gravitas. This version doesn't have it.

Then there's the matter of tone. For a story that touches on war, manipulation, and global trust, it spends a surprising amount of time trying to make you laugh. The Fortress of Solitude is staffed by oddball robots that get the biggest laughs of the film. They're ridiculous, but hard not to enjoy. Same goes for Krypto the Superdog. It should have been cringe, but somehow he's one of the more likeable characters. Which might be a problem when the film is supposed to be about Superman.

And that's where things start to wobble. The central figure, (Superman), the one this entire reboot hangs on, ends up sidelined. He's not particularly interesting here. Mister Terrific, played with real sharpness by Edi Gathegi, ends up stealing the film with the most crowd-pleasing scene. He's clever, capable, and actually fun to watch. Superman by comparison just feels a bit flat. There's nothing wrong with David Corenswet's performance, but the script never gives him a truly memorable moment. No "chills down your spine" rescue, no speech that sticks. You finish the film and struggle to remember what he really did, beyond getting hurt, healing up, and punching a clone into a black hole.

The film also leans heavily on its comic book roots, specifically the All-Star Superman arc, and fans of that source material might get a kick out of seeing those panels brought to life. But even that loyalty to the comics starts to buckle under the sheer number of characters squeezed into the runtime. Green Lantern, Hawkgirl, Metamorpho, Ultraman, even the Engineer. It's a lot. Too much for a story that's supposed to reintroduce Superman to a new generation. You can't help but feel the film is more interested in setting up future DCU stories than telling a focused one here.

Still, it's not all wasted. There's a decent energy to the action. The black hole sequence has real stakes, even if the resolution feels a bit too neat. The supporting cast mostly do what they can with the material, and there's a decent attempt at showing the toll of public perception on a hero like Superman. But the emotional beats don't land as they should, often drowned out by another gag or another cameo.

By the end, Luthor's downfall feels inevitable, not dramatic. Lois and Superman share their kiss, the world is saved again, and Krypto gets picked up by a drunk Supergirl. It's fine. It's all just… fine. Forgettable, in a way that a film like Superman really shouldn't be.

Oh and I didn't even mention the dodgy CGI. The weird eyes are still there. And gone is the classic John Williams score, replaced with a poor imitation.

You want to come out of a Superman movie feeling something. Inspired, maybe. Awed. This one just leaves you thinking about the Fortress robots and wondering if Mister Terrific is getting a spin-off.

Five out of ten. Just about.

In Cinemas Now!