Beauty is pain, but then again, so is heartache. The current film trend of 2024 are stories of women seeking perfection by any means necessary: Demi Moore risks turning into a crone for the sake of revitalizing her career in Cannes breakout film “The Substance,” Kate Hudson plays a shady cosmetics guru who may or may not be experimenting on clients in the name of eternal youth for “Shell,” and Elizabeth Banks loses her business — and her mind — in “Skincare” as a struggling facialist who is attempting to carve out her own space in the ever-changing beauty industry.
Now, Joey King is adding to the film landscape with “Uglies.” Despite not being the product of an original script like those other, aforementioned features, “Uglies” feels distinctly prescient in this era of influencers, filters, and — of course — discussions of what it means to get older as a woman.
In this YA novel adaptation, though, King’s character Tally is only 16. Still, in her particular post-apocalyptic future, each teenager undergoes a cosmetic surgery that makes them their ideal selves. Sound familiar?
Tally and her bestie Peris (Chase Stokes) can’t wait to embark on their own “transformations,” but since Peris is three months older than Tally, he’ll be a “Pretty” first (and yes, the monikers are truly as simple as that). And Tally learns that it’s not just outer appearances that get changed upon going under the knife: Peris turns out to be a jerk post-procedure. Nothing is perfect about him anymore as he becomes a manipulative Ken doll with lizard eyes.
Does Tally still want to grow up and become as heartless as he is? Suddenly it all becomes way more complicated, and Tally is put into a tailspin. Add in one of her pals (Brianne Tju) running away from their glittering perfect city for parts unknown, and Tally’s own transformation is put off even longer. She strikes up a deal with the city’s counsel, led by Laverne Cox as Dr. Cable: Tally will track down her friend and only then can she get the surgery herself.
Of course, that voyage is more daunting than it sounds. Tally has to traverse the elusive wilderness for the first time (in the future, everyone is kept in “Hunger Games”-esque towns, sans nature) and soon discovers a group of rebels who live outside of society. Tally finds love with one of the “Uglies,” played by Keith Powers, and realizes that true love is being seen for who she really is, not what she can become.
While Scott Westerfeld’s “Uglies” novel series was a beloved YA franchise, the script written by Jacob Forman, Vanessa Taylor, and Whit Anderson doesn’t really land with quite the same punch. Author Westerfeld also executive produces the film adaptation, though, but it all feels too late in the zeitgeist. We’ve moved on from “Divergent” type YA novel adaptations.
McG, who also directed “The Substance” star Moore in “Charlie’s Angels: Full Throttle,” helms the film. Lead star King also executive produces, expanding her Netflix collaborations after film “A Family Affair.” This one is more forgettable than either earlier picture.
Sure, “Uglies” warns of mythologizing our most perfect self, and even delivers a twist ending that — of course! — sets up a sequel. But King can’t really play a teen anymore, and the message of non-conformity feels stale, in the YA adaptation space and beyond. This trend, much like shifting beauty standards, is already on the way out.
Rating: C+
“Uglies” starts streaming on Netflix on Friday, September 13.
