Uglies Review | A Drab and Sluggish YA Adaptation on Netflix

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As a long-time enthusiast of Young Adult literature, I must admit that I was initially intrigued by the prospect of “Uglies” gracing our screens. Having devoured Scott Westerfeld’s series back in my teenage years, I felt a pang of nostalgia when I heard about its adaptation. However, after watching it, I find myself torn between my fond memories and the harsh realities of this cinematic experience.

In this story titled “Uglies,” inspired by Scott Westerfeld’s 2005 dystopian novel, we find ourselves in a future society where everyone is initially considered “ugly.” However, at age sixteen, individuals undergo transformative cosmetic surgeries to become “pretty.” Tally Youngblood (Joey King) experiences a shift in her best friend Peris (Chase Strokes)’s personality after his surgery. This prompts her to seek out a group of rebels, known as “The Smoke,” who live independently and embrace their natural selves. Among this group, Tally befriends Shay (Brianne Tju) and the leader, David (Keith Powers). As Tally delves deeper into her world, she uncovers a disturbing truth about her upbringing. She then takes a stand against Dr. Cable (Laverne Cox), the innovator behind this cosmetic surgery, to bring change and challenge the status quo.

Uglies Has Good Intentions but Fumbles Its Message

Reading into the core idea of “Uglies“, where society is divided into “the uglies” and “the pretties”, gives off a humorous resemblance to the standard young adult dystopian novel structure, intentionally so. This narrative aims to mock the concept of beauty and reveal how societies can unfairly categorize people based on appearances. The story serves as an overt allegory meant for younger audiences. The film accentuates this message by depicting those labeled “ugly” not as unattractive, but possessing conventional features that we consider beautiful today. The excessive pursuit of perfection through cosmetic surgery is portrayed as gaudy.

In this movie, characters who have undergone surgery appear with an eerie, unsettling resemblance to the uncanny valley. This effect is achieved by subtly smoothing their visuals, making them seem too perfect and slightly unnerving. Unlike the film “Beastly” from 2010, this aesthetic choice is deliberate here. However, it still feels a bit odd when a character comments, “They moved faster than any creature we’ve ever encountered before,” after narrowly escaping a perilous situation, as it adds an element of silliness to the dialogue.

One way to rephrase the given text in a natural and easy-to-read manner is: “It’s a kind thought – people tend to fixate on their perceived flaws and constantly strive for improvement, while neglecting their unique qualities. However, some creative decisions in Uglies can conflict with the movie’s message, potentially leading to ambiguous or even harmful implications. It may be too extreme to portray all cosmetic surgeries as inherently negative; many individuals choose to undergo such procedures voluntarily, not due to societal pressure. Unfortunately, Uglies’ metaphor does not account for the transgender experience.

Laverne Cox Is Great but Her Casting Is Troubling

This anti-surgery framing also becomes worse with the main villain being played by Laverne Cox, an actress and LGBTQ+ advocate who became the first trans woman to be nominated for an Emmy for her role in Orange is the New Black, and the first trans Barbie back in 2022. This is certainly not a critique of Cox, who is one of the movie’s best parts. Cox has a cold, icy presence in every one of her scenes, projecting a terrifying sense of calmness and artificial pleasantry that is effective in a movie that doesn’t live up to her talents. Hopefully, other filmmakers will tap Cox into other sci-fi and fantasy worlds and allow her to continue to show her acting talents.

It seems problematic to feature a well-known transgender actress as the antagonist in a film that critiques the obsession with physical beauty and the risky surgeries associated with it. Given the current climate where transgender rights are under threat from both government and societal forces, the message of the movie “Uglies” – that altering one’s appearance through cosmetic surgery is harmful – could potentially be misused for harmful intentions.

The creators of “Uglies” may not have intentionally intended to spread a harmful message, as there are already individuals who openly promote such ideologies. It’s unnecessary to invent fictional antagonists when real ones exist. Instead, it seems that the creative minds behind “Uglies” might not have given enough thought to the metaphor they used in 2005, or how the message might need to be adjusted for a contemporary audience in 2024.

Bland Design for a Bland World

The movie adaptation of Uglies has been affected by what’s often referred to as the John Carter curse, a project that faced long delays in production. Similarly, Uglies was initially announced in 2006; its late arrival makes it appear as though it borrows elements from other popular titles, even though it was developed before them. In essence, Uglies seems to draw on familiar themes seen in works like The Hunger Games, Divergent, and The Maze Runner, despite the books having been published prior to these titles.

Even though Uglies is being released much later than those other films, it doesn’t necessarily mean it couldn’t establish its own distinctive visual aesthetic to set itself apart. Regrettably, that’s not what happened. The director of Uglies, McG, happens to be the same filmmaker who watered down the visually distinct Terminator franchise with his lackluster post-apocalyptic movie, Terminator Salvation. In this film, he delivers sterile sets intended to convey futuristic, brutalist architecture, but they instead resemble deserted shopping malls. Even the action sequences seem devoid of detail and appear as if some elements were omitted, which is quite disheartening considering that McG’s two Charlie’s Angels movies still hold up well.

Joey Kind and One Stand-Out Performance Worth Watching

Despite its flaws, there are some hopeful signs in the novel “Uglies,” such as the fact that Joey King, who was previously captivating on screen, plays not only the main character but also serves as a producer and ardent admirer of the book. Moreover, the character of Tally Youngblood seems to be a protagonist with greater autonomy than many other young adult adaptation leads, as she actively shapes the narrative by making decisions that propel the story forward rather than merely responding to events around her.

In this movie, Brianne Tju’s portrayal of Shay truly shines. Shay serves as the catalyst for Tally to break free from her controlled existence and join the rebellion. Shay challenges the stereotypical gender roles in the story by defying many conventional feminine traits. Through Shay, we witness a raw and unfiltered look at the gruesome process of becoming “pretty.” Tju’s acting is outstanding, with a scene near the end that is both heart-wrenching and terrifying, leaving an indelible mark on viewers.

​​Although some solid acting was delivered, Uglies ultimately falls short as a representative example of the Netflix approach. It appears that it was produced to bolster their content library, serving merely as another option for viewers to casually watch while multitasking. Despite the actors’ efforts to make this production reflect current societal issues and bring a cherished book series to the screen, the final product lacks originality, with many aspects mirroring both superior productions like The Hunger Games and inferior ones such as The Giver.

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2024-09-13 02:32