Uglies
Uglies
Uglies: without a doubt, the genre that best characterized early 2010’s YA media is dystopian. It commenced with the release of ‘The Hunger Games’ in 2012 and downstream flow of releases led to ‘Divergent’, ‘The Giver’, and ‘Maze Runner’ being released in that order by 2014. Theater adaptations of dystopia based young adult novels received tremendous success and made the fans of these franchises rush to cinemas.
“Uglies” by Scott Westerfeld was one of these titles back then, and is now trying to make its debut on the silver screen. McG, the director of ‘Uglies’, ‘Charlie’s Angels: Full Throttle’ and ‘the Babysitter’ put the film in a world that has done away with class, creed, race and country through a leveleder- beauty.
In this utopia and grotesque flourishing place, perfect world balance cannot be possible where there are no flaws or even perfection. At the sweet sixteen, young girls are made through a radical approach where one looks absolutely stunning with extra limbs, beautiful sparkling eyes, and no single imperfection On the fifteenth birthday and below, young children, known as the uglies, reside in stark gray structures on the periphery of the golden high-rise city. T
ally (Joey King) has a few months to go meaning she is younger than her friend, Peris (Chase Stokes) who already two months on aids. Before he has the procedure done, they decide to make an agreement that the two will try their best to keep their relations as it is for the next couple of months. But when she speaks to him and he never replies, she sneaks into the city looking for him. Now, as ‘ugly’, she is unconcerned and nonchalant. ‘When will you get to do the procedure’ can’t come soon enough.
At this period of time, Tally is chosen as a friend by Shay (Brianne Tju) who is also an ugly and has the same birth date with Tally. They spend some time doing some pioneeris Activities. Declaring that the time when wow so. About this time a birthday shame he says would come but it is a shame that he has some plans. .
In fact, she does not intend to be who,” Runaway arrives at “The Smoke,” and joins a band of the outlaws led by the mysterious David (Keith Powers). Shay not showing up for her scheduled date, Tally’s is supposedly put off by Dr. Cable (Laverne Cox), a government official who knows Tally and uses Tally’s change to later make collateral for their friendship.
In Tally’s case, the beauty is only bestowed on her as a reward for her bringing Shay from within the boundaries of the city to which Troy escaped. As she does so, and, in particular, after Tally’s encounter with David, Tally’s world view is placed in jeopardy as Tally starts questioning the black and white separation of uglies and pretties.
Cinematically and narratively, ‘Uglies’ feels outdated. The world is a CGI playpen and most of the movie employs cheap tricks to immerse us in the futuristic world depicted. The embezzlement of these imaginative props such as toothpaste pills, artificial intelligence rings and hover boards in the original text is probably most of the source text, however, the film’s lazy presentation of these is rather cheap and unsatisfying.
And even with the expected thrill that such affordances are meant to provide, “Uglies” disappoints on establishing the mood for the adventure aspect that becomes the highlight of its progression.
The high-octane and high-risk action set pieces stagnate against the rather obvious and needlessly exaggerated nonsense both onscreen and offscreen.
The rhythm of the film is frenetic ranging from a set piece to an exposition dump in rapid succession and vice versa. One can hardly have time to breathe and settle into the world that McG is attempting to build. In the same regard, the thesis of the film is clear – superficiality is fake and therefore it is constrained.
This is not an impressive thesis, in fact it is very much a cultural relevant thesis where the age group the targeted here is, however, still, silence is quite well addressed but the film does not go any deeper than that. That is a point that is made within the first 20 mins of the story and I would be quite well pointless explaining to say and with throw away avenues when the rest of the workable period is used.
One can never judge a performance when the scenes such as this reside within such land foul script. King fit in the classic spent exotic for a distractive reliance of a desperate heroine cribbing in a YA dystopian tale.
She delivers her media rough treatment Ballet’s cold penetrating and quite emotionless action department quite habitually. Nobody particularly complex or intimidating is stated to her except as a by-pass where in the film her alineness is highly exalted resulting in an imbalance between intention and impact of the film.
Lime and Tju’s David is the strongest character in the film and, through the mythology and depth of the character, actually has something subvertable. Tju’s Shay has to concern herself with more than just what one sees in front of her at that particular moment in time. Powers and Tju bring a slither of emotional attenuates towards the conclusion of an otherwise banal predictable narrative.
“Uglies” is one of the stupidest novels of this author. It is the worst of this freakish genre of teenage books that claims to be a dystopia. The film has barely anything to say in support of its informative thesis and suffers breathe taking quietness which is a very aggravating factor in an action movie.
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- Genre: Drama
- Country: United States
- Director: McG
- Cast: Joey King, Brianne Tju, Keith Powers
