As a seasoned movie critic with decades of experience under my belt, I’ve seen it all – the good, the bad, and the downright ugly (no pun intended). But “Uglies,” directed by McG, falls squarely into the latter category. With its half-hearted attempt at adapting Scott Westerfeld’s 2005 novel, this film feels like a relic of a time when social media filters were still considered innovative.
Despite the influence of overly idealized photo filters on modern perceptions of beauty, Joey King (“A Family Affair”) remains undeniably attractive with her captivating blue eyes and fresh-faced appearance. However, in the dystopian world of “Uglies,” directed by McG (“Charlie’s Angels”), the conventional definition of beauty as we know it becomes meaningless for Tally Youngblood’s character. This is due to the unique nature of the reality she inhabits, which takes place several centuries after our own, where the traditional concept of beauty holds a completely different significance.
In an undetermined future, all individuals undergo a surgical transformation at age 16 to achieve their most attractive form, which is as significant as reaching puberty or observing a youth-focused religious ritual. Prior to this point, everyone attends an educational institution alongside their less transformed peers, often referred to as “the unattractive ones.
In a manner reminiscent of other dystopian narratives like “The Island” by Michael Bay or the “Divergent” series, readers can predict the plot twists in “Uglies” quite early on due to its familiar storyline. While the transformation process in this novel has an Orwellian undertone rather than promoting societal advancement, it’s important to note that characters such as Tally have been brought up believing a distorted truth for generations. They believe that all forms of discrimination stem from grudges between the beautiful and the less fortunate. They blame these disagreements, along with an over-reliance on fossil fuels, for the planet’s demise. However, in the dystopian world of “Uglies”, such issues are no longer relevant. Now, everyone is equally attractive thanks to scientific advancements, and a plant-based resource has been invented to cater to all our survival needs.
Initially, King delivers all the details in a matter-of-fact tone reminiscent of reading from a textbook, devoid of emotion, which unfortunately characterizes much of “Uglies.” This approach, however, doesn’t detract from the writers Jacob Forman, Vanessa Taylor, and Whit Anderson’s ability to create Tally’s world and personality in an engaging way. They also introduce her friendship with Peris (Chase Stokes), affectionately nicknamed Squint due to her distinctive appearance. In return, he is called Nose, a nod to his unique feature.
However, their relationship will soon face a trial as Nose’s surgery is scheduled ahead of Squint’s by two months. Unable to endure the prolonged separation, they promise to meet at the bridge linking the ugly district to the vibrant city inhabited by the pretties. Unfortunately, Peris doesn’t appear as expected, prompting Tally to slip away under the cover of night in search of answers. Remarkably agile in a manner typical of the well-established chosen-one archetype, Tally manages to elude detection and seamlessly blend in with the city’s pretties on her quest for Peris.
The much fabled city we don’t see until then is visually realized, like the rest of the production, with an all-too-familiar video game-like appearance. All these generic-looking, CGI-heavy psychedelic environs have been seen before in other (better) sci-fi movies and picture books. As for the pretties themselves, freakish beings with smooth skins, high cheekbones and golden eyes, the VFX doesn’t really give us anything more inventive than people who collectively look like an airbrushed Instagram feed.
The twist isn’t particularly complex, but it certainly raises questions. When Tally eventually locates Peris, there’s an unsettling change, suggesting that someone has tampered with his mind and character. Our suspicions are validated when a pivotal figure, Shay, portrayed by Brianne Tju, enters the scene. Shay is resolute about avoiding the surgery, preferring to ally with David (Keith Powers) and his group at “The Smoke,” a distant place evoking memories of communal living from the era of “the rusties” (our contemporary spectators). The one in charge of overseeing the transformation of the ugly ones, Dr. Cable, portrayed sternly yet unconvincingly by Laverne Cox, persuades Tally to accompany Shay and act as a double-agent with the ultimate goal of dismantling “The Smoke.
The whole shtick about the importance of “inner beauty” is already so predictable that it becomes downright laughable when Tally learns her lesson and superfluously spells out, “I didn’t know the cost of being pretty was your mind” to the clan she regretfully betrays. And their eventual joining of forces against Dr. Cable yields nothing more than a tedious final act where a battle between the good and the evil emerges with little excitement. (It also doesn’t help that the movie never really explains Dr. Cable’s endgame, outside of her generic need for control.) The ending winks at a sequel (there are additional books in the Westerfeld series), but it’s hard to leave “Uglies” with a desire for a franchise when the movie doesn’t say anything all that meaningful.
The Young Adult genre often taps into our deepest desires for rebellion and excess, but the issue with this story lies in its original content. Specifically, the moment it was adapted for screen. In 2005, when social media platforms were still young, the concept of using digitally enhanced images of youth as a foundation for a dystopian narrative was fresh and intriguing. However, in today’s world, where such concepts are more commonplace, “Uglies” seems outdated almost immediately. For instance, when Tally gazes at her reflection early on and envisions what enhanced beauty might feel like, it fails to captivate the audience. Regrettably, “Uglies” never manages to regain its initial appeal after this point.
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2024-09-13 02:16