“Review of ‘Uglies’: A Chaotic and Unconventional Experience”

This adaptation of Scott Westerfeld’s novel “Uglies,” directed by McG, takes place in an unnamed post-apocalyptic city where concerns about body image are widespread.

Drawing on the famous quote from George Orwell’s “Animal Farm,” which states, “All animals are equal, but some animals are more equal than others,” the connection to this classic in “Uglies” is superficial at best. This young adult dystopian sci-fi drama, which promotes the idea of valuing inner beauty over outward appearance, is ironically hampered by its execution, ultimately undermining the very message it seeks to convey.

Directed by McG, this adaptation of Scott Westerfeld’s “Uglies” unfolds in an unnamed post-apocalyptic city where body-image issues run rampant. In order to join the elite group known as “pretties” and gain access to the city’s luxurious areas, those labeled as “uglies” must wait until they turn 16. At that age, they can undergo cosmetic surgery to transform into their “prettier” selves and enjoy a life of endless festivities. Unfortunately, “Uglies” ends up being as shallow as the characters’ obsessions. The narrative and its execution lack substance, with the most significant flaw being the underdeveloped world-building crafted by Jacob Forman, Vanessa Taylor, and White Anderson. It raises the question: why would a city, ravaged by the depletion of natural resources, prioritize beauty standards over addressing societal decay?

The premise of “turning 16 to become pretty” faces scrutiny from two key angles. First, a public announcement in the “pretty” sector of the city suggests that cosmetic surgery can eradicate discrimination, implying that issues related to color, ethnicity, race, and gender have been resolved. Even if we accept that this dystopian society has overcome discrimination, the film fails to provide a convincing rationale for why the “uglies” would reject the surgery. Tally Youngblood (played by Joey King), who initially expresses her body-image concerns, suddenly shifts her allegiance to rebel leader David (Keith Powers), who encourages embracing a more authentic human experience.

When a film explores modern political themes within a dystopian framework, it naturally prompts viewers to consider the political views of its creators. Recently, the far left has largely embraced cosmetic surgery, particularly in support of the LGBTQIA+ community. In light of this, one might initially think that the filmmakers of “Uglies” have a right-leaning perspective, especially with the casting of trans actor Laverne Cox as Dr. Cable, the antagonist responsible for the cosmetic procedures.

However, it quickly becomes clear that the filmmakers are less focused on political ideology than one might expect. For instance, the rebels in Smoke, led by David and his family, engage in archery using wooden logs while discussing the importance of conserving natural resources. They even set forest fires to eradicate a flower that harms the soil, all while voicing concerns about climate change. Although the film touches on issues like body positivity and environmentalism, it ultimately lacks a definitive position.

“Uglies” faces several challenges, including a lackluster screenplay, unclear political messaging, and subpar visual effects.

One notable line in the film states, “Don’t believe those over 16.” This could serve as a cautionary message to younger audiences, suggesting that they should be wary of adult opinions that, much like the film itself, fail to offer any substantial insight as “Uglies” meanders through a series of underdeveloped ideas without ever establishing a firm foundation.