Uglies Movie Review: Flat storytelling meets half-baked propaganda

Premised on the famous quote from George Orwell's Animal Farm—"All animals are equal, but some animals are more equal than others"—Uglies’ connection with the classic ends there. Ironically, this young adult dystopian sci-fi drama, which champions inner beauty over outward appearance, is undermined by its own execution, contradicting the very message it tries to promote.

Director: McG
Cast: Joey King, Keith Powers, Brianne Tju, Chase Stokes
Platform: Netflix

This adaptation of Scott Westerfeld's novel Uglies, directed by McG, is set in a nameless post-apocalyptic city where body-image issues are pervasive. To become one of the so-called "pretties" and enter the luxurious part of the city, those on the impoverished side, known as "uglies," must wait until they turn 16. Upon reaching this age, they can undergo cosmetic surgery to become their "prettier" selves and partake in endless celebrations. Unfortunately, Uglies is as superficial as its characters' obsessions. The story and execution lack depth, with underdeveloped world-building being the greatest flaw in the writing by Jacob Forman, Vanessa Taylor, and White Anderson. Why would a city devastated by the exhaustion of natural resources fixate on beauty standards? Instead, the film could have explored the degeneration of its society more meaningfully, like through the inhabitants' shift to consuming tablets instead of solid food, a concept briefly mentioned.

The "turn-16-to-turn-pretty" premise is challenged by two major factors. First, a public announcement in the "pretty" part of the city claims that cosmetic surgery can eliminate the discrimination faced by the human race, implying that issues like color, ethnicity, race, and gender have been resolved. But even assuming this dystopian world has overcome all other differences, the film doesn’t provide a compelling enough reason why the uglies should reject the surgery. Tally Youngblood (Joey King), who openly lists her body-image issues, abruptly switches sides to join rebel leader David (Keith Powers), who advocates for humans to embrace a more natural lifestyle. This transformation is sparked by something as simplistic as a two-minute pep talk from her best friend Shay (Brianne Tju), urging her to love herself as she is.

When a film addresses contemporary political issues in a dystopian setting, it naturally invites us to examine the creators’ political stance. In recent times, the far left has been generally supportive of cosmetic surgery, especially in its advocacy for the LGBTQIA+ community. Given this context, one might assume the filmmakers of Uglies lean to the right, particularly with the casting of trans actor Laverne Cox as Dr. Cable, the villainous surgeon who oversees the cosmetic procedures. But soon, it becomes evident that the filmmakers are far less invested in political ideology than we might expect. For example, the rebels in the land of Smoke, led by David and his parents, practice archery with wooden logs while speaking about conserving natural resources, and they start forest fires to eliminate a type of flower that depletes the soil, all while expressing concern over climate change. The film flirts with themes like environmentalism, body positivity, and climate change—all popular left-wing causes—but ultimately, it fails to take a clear stance. So, what exactly does the film support or oppose?

Uglies suffers from numerous issues, including a weak screenplay, political ambiguity, and poor CG work. The filmmakers seem to have wrongly believed that shallow storytelling could be masked by flashy stunt sequences and advanced weaponry.

There’s a line in the film that says, “Don’t believe those over 16.” Perhaps it’s a warning to young viewers not to heed the opinions of adults who, like the film itself, seem incapable of delivering anything meaningful as Uglies stumbles from one half-baked concept to another, without ever finding solid ground.