The Uglies Movie Review: Joey King and Keith Powers Can’t Save This YA Dystopia Disaster

Uglies Movie Review: Why Netflix’s YA Adaptation Falls Short of ‘Pretty’

The YA dystopian genre—does it still have a place in 2024? Can we continue to justify the endless waves of revolutionaries, post-apocalyptic worlds, and brooding teen rebels against corrupt regimes? If you’ve been following the genre’s rise and fall, then you might be wondering: Why are they still making these movies? In a world that has already chewed through The Hunger Games, Divergent, and The Maze Runner, do we really need another?

Enter Uglies, Netflix's latest attempt at reviving the YA dystopian craze. Based on Scott Westerfeld’s 2005 novel, the movie stars Joey King as Tally Youngblood, a 15-year-old girl eagerly awaiting her "Pretty" surgery—an operation that transforms ordinary teens into the epitome of beauty. Sounds like a recipe for success, right? Unfortunately, Uglies not only arrives late to the party, but it stumbles through the door with outdated tropes and uninspired visuals. Let's unpack why this film might just be the final nail in the coffin for the YA dystopia era.

What Went Wrong?

You might ask yourself, Is this movie really that bad? Well, let me start by saying this—if you’re familiar with the book, the story feels like a rehash of the genre’s greatest hits but with none of the spark. The setting is a futuristic society where teenagers undergo mandatory plastic surgery at 16 to become "Pretties." Tally (Joey King) is about to go under the knife when she meets Shay (Brianne Tju), a rebel who wants nothing to do with the surgery.

On paper, the story explores themes of beauty, conformity, and societal pressure, similar to what you'd expect from a YA dystopia. However, the film does little to advance those themes beyond surface-level commentary. The beauty standard debate feels outdated in a world where we’re already having nuanced conversations about filters, cosmetic surgery, and body image. Do we really need another Black Mirror lite exploration of "what if beauty standards controlled everything"? Especially when the delivery feels so uninspired.

Acting That Leaves Much to Be Desired

Joey King, who has been charming in past performances (The Kissing Booth and The Act), does her best to carry the film, but it’s a heavy load. You know that feeling when you’re rooting for the protagonist to succeed, but you’re equally aware that they’re fighting a losing battle? Yeah, that’s Joey King in Uglies. Her portrayal of Tally is earnest, but the script gives her little to work with. Stilted dialogue and awkward character interactions only exacerbate the problem.

And let's talk about Keith Powers as David, the leader of the rebel group. His character should be the dashing rogue who challenges Tally’s worldview, but instead, his performance feels flat. Their romance is as obligatory as the dystopian rebellion itself, lacking chemistry or intrigue. You’d think that a storyline centered around fighting for freedom and individuality would offer emotional depth, but alas, it's more of the same trope-laden, love-triangle nonsense we’ve seen a thousand times before.

A Visuals Problem

Remember the breathtaking landscapes of The Hunger Games or even the harsh, gritty aesthetics of Divergent? Uglies offers none of that. The futuristic city where the Pretties live looks like it was ripped straight from a Windows XP screensaver—uninspired and soulless. Even when the action shifts to the wilderness where the rebels hide, there’s no sense of danger or excitement. At one point, Tally and Shay sneak off to an abandoned theme park for a hoverboard ride—a scene that should have been a visual spectacle but instead feels like an afterthought.

The Pretties themselves, designed to be the epitome of beauty, are underwhelming at best. With smooth skin and exaggerated features, they look more like poorly rendered video game characters than a chilling representation of a society obsessed with perfection. Uglies could have offered a deeper dive into how Eurocentric beauty standards permeate society, but instead, it chooses to remain on autopilot, failing to engage with the topic beyond a superficial glance.

Does the Movie Bring Anything New?

If you’ve read Scott Westerfeld’s original novel, you might be wondering: Didn’t Uglies do it first? And you’d be right—Uglies was one of the early entries in the YA dystopian genre, preceding even The Hunger Games. The novel introduced many of the tropes that have since become synonymous with the genre. But in 2024, those tropes feel tired, and the movie does nothing to revitalize them.

Instead, Uglies comes across as a parody of the genre it helped create. It lacks the urgency and depth needed to make these tropes feel fresh again. While the book's commentary on beauty standards and conformity was timely in 2005, the movie feels like it’s stuck in a time warp, unable to catch up with more modern, relevant concerns.

Why It’s Hard to Root for A Sequel

Now here’s a question for you: Would you want to see Uglies 2? The ending of the movie sets up a sequel, but honestly, after sitting through two hours of flat performances, generic visuals, and predictable plot twists, I’m not convinced there's enough story left to tell. The movie's themes of inner beauty and personal freedom are heavy-handed and offer no new insights into conversations we’ve been having for decades.

And that’s the real shame. With a talented cast led by Joey King, Keith Powers, and Chase Stokes, Uglies had the potential to be something more than just another cookie-cutter YA adaptation. Instead, it’s a reminder that some stories are better left on the page.

Beyond the underwhelming visual design and clichéd plot points, Uglies suffers from pacing issues, with long, drawn-out scenes that fail to build tension. The movie's world-building, though ambitious, lacks depth, leaving viewers struggling to fully immerse themselves in Tally’s dystopian reality. Moreover, the social commentary on beauty standards feels superficial, barely scratching the surface of a topic ripe for exploration in today’s image-obsessed culture. Even strong performances from Joey King and Keith Powers couldn’t save the film from feeling like a recycled version of earlier, better-executed YA dystopias.

Is YA Dystopia Dead?

I’ll leave you with this final thought: Can the YA dystopian genre still be saved? Perhaps, but not with movies like Uglies. The genre needs fresh perspectives, new voices, and an approach that acknowledges the complexities of today’s world. The formulaic stories of rebellions, love triangles, and oppressive regimes won’t cut it anymore. If YA dystopia wants to remain relevant, it must evolve. Otherwise, movies like Uglies will continue to make defending the genre a nearly impossible task.