Uglies movie review
Uglies movie review
The YA dystopian genre, which dominated the early 2010s, makes a return with Uglies, directed by McG. Based on Scott Westerfeld’s popular book series, the story is set in a future where beauty is the ultimate equalizer. At the age of 16, everyone undergoes a procedure that makes them physically perfect, erasing societal divisions. Tally, played by Joey King, eagerly awaits her transformation but becomes entangled in a deeper conspiracy involving her friend Shay (Brianne Tju), an outlaw group, and the sinister Dr. Cable (Laverne Cox).
The film’s concept—exploring the superficial nature of beauty and societal control—feels relevant to the YA genre but lacks depth in execution. The world McG creates is a glossy CGI playground, filled with futuristic gadgets like hoverboards and AI rings, yet these elements come off as gimmicky and fail to enrich the narrative. The pacing doesn’t help either, rushing from one set piece to another without letting the story or characters breathe. As a result, the film struggles to build emotional or thematic resonance.
The performances are also hindered by the film’s shallow script. Joey King’s portrayal of Tally feels like a standard YA protagonist, full of grit but lacking nuance. Laverne Cox, as the villainous Dr. Cable, comes across as one-note, with her character’s menace failing to land convincingly. The saving grace comes from Keith Powers and Brianne Tju, whose portrayals of David and Shay offer the only genuine emotional moments in an otherwise dull and predictable narrative.
Overall, Uglies feels like a relic of a bygone YA dystopian era, offering little in terms of fresh perspective or engagement. Its thesis on the dangers of superficiality is laid out early but is repeated without depth, leaving both its world and its message underdeveloped. While it attempts to tap into the same vein of successful predecessors like The Hunger Games or Divergent, Uglies fails to contribute anything meaningful to the genre.
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