Uglies’ Review: A Dystopian Disappointment in a Crowded YA Landscape
In the current wave of YA adaptations, Scott Westerfeld’s “Uglies Movies” has finally made its screen debut, directed by McG, the filmmaker behind “Charlie’s Angels: Full Throttle” and “The Babysitter.” This adaptation arrives in a media landscape where dystopian narratives are making a notable comeback, following the significant impact of past hits like “The Hunger Games” and “Divergent.” With the genre’s resurgence, “Uglies” lands with a mix of nostalgia and newness, but does it hit the mark?
Set in a dystopian future where societal harmony is achieved through enforced beauty, “Uglies” depicts a world where everyone undergoes a physical transformation on their 16th birthday, becoming the epitome of perfection. Those who are under 16, referred to as “uglies,” live on the outskirts of a gleaming city, isolated in stark, industrial compounds. The story follows Tally Youngblood (Joey King), who is eagerly anticipating her own transformation while grappling with the mystery of her friend Peris (Chase Stokes), who has gone silent following his procedure.
Tally’s journey takes a dramatic turn when she befriends Shay (Brianne Tju), another “ugly” who shares her birthday but has different plans. Shay intends to resist the system by escaping to a rebel group known as “The Smoke,” led by the enigmatic David (Keith Powers). When Shay disappears, Tally is pressured by the authoritarian Dr. Cable (Laverne Cox) to find her friend and return her to the city in exchange for her own transformation. As Tally delves into The Smoke and meets David, she begins to question the true cost of the enforced perfection and the authenticity of the world she has always known.
Visually, “Uglies” offers a CGI-heavy depiction of its futuristic setting, incorporating gimmicky elements such as toothpaste pills and AI rings. Unfortunately, these elements feel superficial and underdeveloped, detracting from the immersion and failing to enhance the film’s narrative. The action sequences, which are crucial for building tension and excitement, fall flat due to their lackluster execution and the overall artifice of the film.
The pacing of “Uglies” also poses a significant issue, as it rushes through key plot developments without allowing for meaningful engagement with the world or its themes. The film’s central message about the superficiality and limitations of enforced beauty is clear but is presented in a repetitive manner that quickly loses its impact. The philosophical undertones, while relevant, are not explored with enough depth to resonate beyond a surface level.
In terms of performances, Joey King offers a standard portrayal of the conflicted YA protagonist, while Laverne Cox’s Dr. Cable, though intended as a formidable antagonist, comes across as more formulaic than fearsome. The most compelling performances come from Keith Powers and Brianne Tju, whose characters bring a touch of depth and nuance to an otherwise predictable storyline.
Ultimately, “Uglies” tries to address important themes related to beauty and authenticity but ends up being a somewhat underwhelming entry into the dystopian genre. In the context of today’s media landscape, it struggles to stand out among its more polished and impactful predecessors, falling short in both engagement and thematic exploration.
In a crowded field of dystopian narratives and YA adaptations, “Uglies” fails to make a significant impact, offering a familiar premise with a lackluster execution that may disappoint fans of the genre and newcomers alike.
