Clayface

CLAYFACE

(18) 108mins

★★★★☆

YOU don’t need to be a DC Universe superfan to have heard of many of Batman’s nemeses.

The Joker, The Penguin and Catwoman have each been cultural references for decades.

But even the most ardent Detective Comics devotee may not have heard of Clayface, who first popped up in 1940 drawings.

In 1992, a two-part Batman TV series introduced Matt Hagen, a disfigured actor dependent on an experimental cream that restored his appearance — but this turned him into a shape-shifting monster.

Now, 34 years later, this brilliantly terrifying origin story shows us exactly why Clayface is who he is.

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Handsome actor Matt Hagen (Tom Rhys Harries) has risen from Gotham’s streets to become one of the world’s most sought-after stars.

We meet him at the height of his career — working non-stop, featured on the cover of every glossy magazine, and even nominated for an Oscar.

On top of that, he seems like a decent bloke who looks out for his mates and treats everyone with respect.

But soon, a sexy run-in at a nightclub leads to him having his face horrifically disfigured by a Gotham gangland boss, who puts out a smear campaign on his character.

With his career collapsing and his reputation in tatters, Matt turns to experimental scientist Dr Caitlyn Corr (Naomi Ackie), who is practising with various AI treatments to put right such disfigurements.

While she explains her research is in its early, undeveloped stages, Matt feels he has nothing to lose — and so they give it a try, naturally.

It restores said good looks, but it also begins to affect Matt other ways, giving him mind and face-altering abilities. Quite the combination for someone hell-bent on revenge for those who betrayed him.

This thrilling horror has experience at the helm, with Speak No Evil’s James Watkins directing and The Haunting Of Hill House’s Mike Flanagan writing the screenplay, along with Hossein Amini.

With a bevy of British talent playing Americans in the supporting cast — including Eddie Marsan as a dodgy lawyer and Max Minghella as a good cop trying his best in a corrupt city — this is a high-quality psychological thriller that often feels grittier than anything DC has done before.

Not to mention it’s also a superb introduction to a new DC character, who makes a great nemesis.

GHOSTS: THE POSSESSION OF BUTTON HOUSE

(PG) 97mins  

★★★★☆

IT’S three years since BBC sitcom Ghosts shut the dusty doors on Button House and its crazy residents after five series of the show, which originated with the comedy troupe that created Horrible Histories.

This film sees series director Simon Hynd bringing back the spirited company of characters including disgraced Tory MP Julian (Simon Farnaby), Edwardian matriarch Fanny (Martha Howe-Douglas) and World War Two captain James (Ben Willbond).

The gang bicker and reminisce about the former living residents, Alison (Charlotte Ritchie) and Mike (Kiell Smith-Bynoe), who they miss dreadfully. So bored are the friendly ghosts that they learned a takeaway menu that was pushed through the door.

But soon a new crew enters their home – kids who want to play Ouija.

This kicks off an outer-and-inner-body adventure for the ghosts, who seek out Alison and Mike to help them keep their abode.

There’s gentle thrills and some rubbish local-cop car chases. Watch for funny cameos from great British comedians and nods to coming-of-age shows like Stranger Things.

Fun for the whole family.

ALI G: WHO IZ I?

(15) 89mins

★★★☆☆

ON hearing that Ali G creator Sacha Baron Cohen was revisiting the character to make a film, I did a sharp intake of breath.

It feels like a dangerous climate for a white actor to play a character who claims to be black.

But the film addresses this early, with Slough-born Ali discussing cultural appropriation in the only way he can.

He reflects that many of his haters claimed he wasn’t black, and decides to head to America with his eight-months pregnant girlfriend, Julie (Morgana Robinson), to get back in the spotlight.

This brings together a fascinating, hilarious cast of characters who, like the successful original comedy show, are not in on the gag.

Having given them a good kicking in his Borat films, Baron Cohen again makes the endlessly ridiculous and terrifying right-wing Americans his targets, as well as the ultra-woke liberals.

And while I laughed out loud many times, some jokes felt tired. But the stunt at the end works brilliantly, and this formerly much-loved character just about gets away with it.

It’s in cinemas this weekend only.