***
Directed by James Watkins.
Starring Tom Rhys Harries, Naomi Ackie, David Dencik.
Horror, US, 108 Minutes.
Released in Cinemas in the UK on 23rd October by Warner Bros.
Even if you do not care for comic book adaptations, there is a certain morbid interest in watching the reforged DCU flounder along under James Gunn’s stewardship after Zack Snyder’s less than successful helming of the superhero stable where he showed nothing more than a fundamental misunderstanding of the character’s he was put in charge of. Gunn at least has a love and appreciation for the characters and the comic book medium itself, somewhat evident in his enthusiastic approach in bringing lesser known characters to the big, and small, screen with the likes of the Creature Commando’s getting their own animated series and Nathan Fillion’s portrayal of Guy Gardner, the biggest arsehole in the Green Lantern Corps, getting his chance to shine in last year’s televisual SUPERMAN movie and the more recent, and quite dour, LANTERNS series. With very few people bothering to turn up for the SUPERGIRL film over the summer, you would think that Gunn would be in a hurry to bring out some familiar faces like Wonder Woman, or Batman, but instead, we are now treated to a full on origin story of one of the Caped Crusader’s second tier villains. What is interesting here however is the full-on approach to embracing the dark and tragic aspects of a character in a way that seems set to appeal mainly to horror fans instead of comic movie fans.
Matt Hagen (Tom Rhys Harries) seemingly has it all. His successful acting career has just been blessed with an Oscar nomination. To celebrate he returns home to Gotham City to celebrate. Unfortunately after dancing with the wrong girl, Matt’s good fortune, and face, are slashed to pieces courtesy of jealous gangster Markos Szabo (David Dencik). With his career in tatters, Matt soon finds himself back in the slums of Gotham, desperate to try a promising course of restorative AI aided gene therapy courtesy of Caitlyn Corr (Naomi Ackie). The quick acting results seem to deliver, but the side effects, mainly the extremely pliable nature and resilience of his face and skin, soon become apparent, fuelling and aiding Matt’s twisted quest for justice.
Although this character hails from the Batman stable, there is a striking similarity to Sam Raimi’s DARKMAN here. Like that cult classic, we witness our “hero” change appearance to wreak havoc on those who have wronged him. Mind you, seeing that this is directed by James (EDEN LAKE) Watkins this is a far stabbier and bloodier affair than that or indeed any other comic book film in recent memory. Certificate 18 films are not as numerous as they were back in the day so it is a real surprise to see a DCU film of all things wear that badge. That it fully earns it is also a wee treat. Maybe I sound like a bloodthirsty maniac for saying that, but there is a certain pleasure in feeling yourself squirm when witnessing a well executed segment involving bodily harm, as is the case here when Matt has to separate his eyelids with the help of a pair of very sharp manicure scissors in the confines of an airplane bathroom during heavy turbulence.
Tom Rhys Harries also makes a commendable job in the main role here, likable throughout from his increasingly unhinged pursuit of Szabo and his cronies right up until the tragic conclusion. With such a character as this, it feels like you can take more chances in taking liberties, but Harries and Watkins, with the help of scriptwriters Mike Flanagan and Hossein Amini (DRIVE) nail the twisted spirit of the character, making him entirely sympathetic as he slides and slithers into full on villainy. The look of the character is spot on also, hearkening back to the artwork of the 90’s comics artwork of Norm Breyfogle in all of its gloopy glory. With all of its revenge and duplicity from the majority of its cast, there is also a healthy and welcome dollop of body horror on offer here that shows how twisted some things can really be when lifted from the two dimensional confines of a comic panel and lifted onto the screen. Also, any film that uses a certain well known television personality the way that they do here in justifying the main character's actions deserves plus points.
It is an enticing appetiser to this particular cinematic iteration of Batman, which is entirely separate from Matt Reeves and Robert Pattinson’s franchise. Although the location work of Liverpool doubling for Gotham City never entirely convinces, along with a fair share of English actors doing their best New Yawk gangster voices, it does not take away from the ambition on display here to deliver a comic book film that otherwise exists happily, and succeeds on its own. At the least it proves that there is life in this particular cinematic universe, allowing characters to exist without feeling the need to tie in/advertise the next film/product, instead giving the audience a film with a story and style that is entirely its own. That said, if James Gunn wants Clayface to return with the rest of The Mud Pack and team up with Killer Croc and The Ventriloquist, I would be more than happy to shell out cash for a ticket.
Iain MacLeod