Streaming giant Netflix gives the popular dystopian young adult novel “Uglies” an adaptation. McG directs the film from a script by Jacob Forman, Vanessa Taylor, and Whit Anderson based on the same-titled book by Scott Westerfeld.
Tally (Joey King) lives in a society where turning 16 means undergoing surgery to remove all imperfections and become “Pretty.” She looks forward to this transformation, hoping for a life of beauty and happiness. However, her outlook changes when she meets Shay (Kelly Gale), a 15-year-old with a different perspective on beauty and identity.
Unlike Tally, Shay is ambivalent about becoming Pretty and intends to escape to the Rusty Ruins—a sanctuary for those who reject societal norms surrounding physical appearance. Despite Shay’s propositions, Tally remains resolute in her pursuit of perfection, unwilling to relinquish her dreams for an uncertain future. Her plans take an unexpected turn when she finds herself interrogated on her birthday, which results in her involuntary arrival at the Ruins.
Dr. Cable, portrayed by Laverne Cox, confronts Tally with a heart-wrenching ultimatum: she must either locate her friend Shay and betray her, or relinquish the opportunity to undergo the transformation and become pretty together. Upon her encounter with the enigmatic leader David, played by Keith Powers, in the Ruins, Tally’s decision holds the power to profoundly reshape her reality..
Given my current age, I do not belong to the target audience for a film such as “Uglies,” I was previously unaware that it was based on a book. Initially, I acknowledge the merit of Westerfeld’s thought-provoking concept, which delves into beauty, identity, and conformity themes. The adept world-building skillfully constructs a society fixated on physical appearance, compelling audience members to scrutinize prevailing societal beauty standards.
However, like most YA adaptions set in a dystopian future, the execution feels somewhat formulaic. The characters, including Tally, often need more depth, and some motivations can seem superficial. The plot, including the ending, is predictable, following a trajectory seen in many dystopian novels, where the protagonist rebels against a conformist society. Additionally, some dialogue comes off as clichéd, occasionally detracting from the story’s overall impact.
The acting screams low budget, and the only one that kept me engaged was Keith Powers, despite his arc having questionable motives. Joey King is going through the motions, and Laverne Cox comes off as clichéd. While younger viewers grappling with identity issues may enjoy the film, older viewers may want more substance.
Final Grade: D+
“Uglies” is available to stream tomorrow on Netflix.
For their second single, the group presented a ballad entitled “Feels Like The First Time.” Once again, Greene handles the lyrics, while Neville Hodge is responsible for production duties. Greene begins the song with robust energy, proclaiming his love for the lady. Greene’s group members provide stellar work on the background vocals, and the songs eschew nineties R&B without going into crass vulgarity.
The ballad was composed by Michael Masser and lyricist Gerry Goffin, and it was first recorded by Dionne Warwick in 1981. Eight years later, Natalie Cole covered the song, shortening the title. It became the fourth single from her twelfth album, “Good to Be Back.”
Braxton’s vocal talent is perfect on the standards “Christmas Time Is Here,” “Have Yourself a Merry Little Christmas,” and “The Christmas Song.” However, like any good R&B Christmas album, it is the soulful yuletide bops where Braxton truly shines. The album’s first single, “Snowflakes of Love,” is instrumental of Earl Klugh’s “Now We’re One”. Braxton’s lush vocals encapsulate the warmth and joy of romantic love amidst a wintery backdrop.