Film critics owe the young adult (YA) genre a reconsideration. While movies featuring teens battling dystopian regimes can be formulaic, they might have played a role in encouraging political engagement among younger audiences. Yet, McG’s latest YA adaptation, “Uglies,” falls short in delivering a meaningful narrative. Based on Scott Westerfeld’s book series, the film imagines a future where humanity’s attempt to eradicate conflict through eugenics has created a rigid caste system. The film’s premise, introduced within the first 90 seconds, feels implausible and poorly executed.
Joey King stars as Tally, a 15-year-old awaiting her transformative surgery. In this dystopian world, everyone undergoes radical cosmetic changes at 16. Tally, known as “Squint” despite her normal eyes, is confined to a school with no educational value. Her friend Peris (Chase Stokes) undergoes surgery and forgets her, prompting Tally to ally with Shay (Brianne Tju), who is involved in a resistance group called “The Smoke.” Tally’s involvement becomes a bargaining chip for Dr. Cable (Laverne Cox), the film’s antagonist, who forces Tally to undermine the resistance.
The film’s casting choices and character portrayals raise concerns. Dr. Cable, a beautiful trans woman, plays a villain enforcing oppressive beauty standards, which unintentionally echoes harmful stereotypes rather than challenging them. The film’s narrative struggles with its allegory, portraying those who undergo cosmetic changes in a negative light.
Visually, “Uglies” is uninspired, featuring generic settings and inconsistent CGI effects. A particular scene involving a “Bungee Jacket” offers brief comic relief but highlights the film’s overall lack of creative depth. Additionally, the romantic subplot between Tally and resistance leader David (Keith Powers) is problematic, considering Tally’s age.
Ultimately, “Uglies” appears to be a product of Netflix’s content-driven strategy rather than a thoughtful cinematic endeavor. The film, debuting on September 13, fails to engage with its audience meaningfully, serving as a stark reminder of the pitfalls of prioritizing quantity over quality in film production.
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