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The On1y One Review: Slow-Burn That Ends Before It Begins

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Excuse me? What was that ending? This show ends at a point where the story reaches its turning point, the interval part, the 5th episode if it were a ten-part series. Here’s how one can summarize “The On1y One”: two classmates are forced to live in the same house when their parents start seeing each other, and just as they begin to like each other, one of them is transferred to another class. The end.

Directed by Liu Kuang Hui (), the Taiwanese series “The On1y One” is based on a novel called “Mou Mou” (某某) by Mu Su Li. It stars Liu Dong Qin as Sheng Wang, a teenager whose father is often moving due to his job, so he moves to a new school where he meets the serious, asocial topper Jiang Tian (Benjamin Tsang), who also turns out to be his new stepbrother. Those who liked the Chinese drama “Addicted” will most likely enjoy this slow-burn show about friendship, family, academics, and love.

Jiang Tian and Sheng Wang’s school segregates students based on their grades, so they are both in a competitive class full of toppers, and because Sheng Wang is new, he works hard to adapt to the new syllabus. Some viewers might find the generous focus on classwork, exams, and the curriculum excessive, but it was a refreshing change to see the high school banter revolving around school subjects and activities. Sheng Wang makes a whole bunch of new friends, and they often hang out and have fun. The only subplot that did feel unnecessary to me was the one focusing on a potential romance between some of the teachers at school.

Visually, the show is well-shot and recreates a fun ‘back-to-school’ vibe. Even though Liu Dong Qin looks too old to be a high school student, he surprisingly captures the nuances of a studious teen who is confused about his evolving feelings very convincingly. Benjamin Tsang’s Jiang Tian is a slightly more complex character, who is estranged from both his parents, and he reluctantly moves into Sheng Wang’s home. It’s perhaps crush at first sight for Jiang Tian, who was instantly enamored by the handsome Sheng Wang, before even knowing they might be related in some way, however, flashbacks reveal why Jiang Tian has issues getting close to anybody and prefers keeping to himself. Regardless, Jiang Tian gets increasingly protective of Sheng, and both youngsters are torn over the growing proximity.

Despite a generous 12 episodes and sparkling chemistry between its leads, “The On1y One” ends with the most random, abrupt endings, which makes one wonder if these 12 episodes were always intended to be a part one of the story. The ending left me feeling very deceived and I hope there is going to be a season two soon.

You can watch the series on Netflix, iQIYI, Apple TV+, Viki or WeTV.

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His Three Daughters Movie Review: Family Feuds and Farewells

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

For a lot of people around the world, family is tolerable only in small doses. So, when three estranged sisters decide to take turns looking after their dying father, expecting him to kick the bucket any day, tensions run high between them due to their differences in the small New York apartment.

Directed and written by Azazel Jacobs, “His Three Daughters” stars Carrie Coon, Natasha Lyonne, and Elizabeth Olsen as awkward siblings Katie, Rachel, and Christina. Carrie Coon’s Katie is the oldest one, the control-freak type, highly opinionated, slightly neurotic, and mean. Rachel is the one who’s been living with their dad but is constantly stoned, doesn’t have a regular job, and is viewed as a laidback leech from Katie’s POV. Elizabeth Olsen’s character, the youngest sibling Christina, who lives the furthest away, is the only mildly likable sister and is very passionate about music and yoga. They’re all on edge over when their dad might die.

The first half hour of “His Three Daughters” is painfully slow and comes off as a bizarre mix of realism and theatrics – the conversations between the sisters are both mundane yet have a stage-like quality, as in they often don’t sound like real banter between siblings. The sisters come off as strangers, so you don’t know if it’s because they are supposed to be extremely estranged from each other or because the dialogue writers couldn’t write more authentic lines.

Fortunately, the tone of “His Three Daughters” shifts in the second half, and from being unreal, slow, and testing, it finally gains a more emotional, relatable atmosphere – when the sisters finally confront their unresolved issues. The first half is quite challenging to watch since you aren’t sure why there’s so much bad blood between the sisters, but towards the climactic moments, their strained dynamics become understandable. Will they be able to reconcile and mend their relationship in their moment of grief? That’s sort of the crux of the film, which largely unfolds within the confines of the characters’ New York apartment, reflective of their suffocating ties. There’s minimal use of background music, and the lack of noise is perfect white noise for this small, character-driven drama.

Viewers don’t even get to see the father (played by Jay O. Sanders) until the climactic moments begin to roll in, which is one of the best-timed decisions in “His Three Daughters.” For the most part, the father is a shadow; we only see the door to the room where he is lying in tubes, never getting a glimpse of him until there’s a cathartic conversation between the women. The climax comes like a gut punch, with the dreaded loss materializing in a very unexpected manner. Director Azazel Jacobs employs a clever cinematic trope to deceive viewers for a bit, delivering a darkly comedic ending laced with grief, relief, tears, and some laughter.

If you have the patience for slow-moving independent movies about broken families, “His Three Daughters” is a watch-worthy film with terrific performances by stars Carrie Coon, Natasha Lyonne, and Elizabeth Olsen.

Rating: 7 on 10. Watch ‘His Three Daughters’ on Netflix.

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Twilight of the Gods Review: Zack Snyder Re-imagines Ragnarok

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Move past the magical first romantic meetings where the woman appears to the man like a beautiful angel descending from the sky; we are here for the fierce warrior wielding her sword in the air, swiftly slashing the neck of the enemy while taking your breath away. Sigrid and Leif, the protagonists of Twilight of the Gods, have the coolest ‘meet fierce’ encounter (not ‘meet cute’) on the battlefield.

Created by Zack Snyder, Jay Oliva, and Eric Carrasco Twilight of the Gods on Netflix is like a mash-up between Castlevania and Blood of Zeus, but with Norse gods and myths. No vampires. And it’s made for adult viewers, so expect some sex, nudity, along with the violence, blood, and gore. The plot follows the beautiful Sigrid (voiced by Sylvia Hoeks), who is half-human and half-giant, and engaged to the Norse Viking King Leif (Stuart Martin). However, on their wedding day, the Norse god Thor (Pilou Asbæk) massacres Sigrid’s entire clan while looking for his mischief-maker brother Loki (Paterson Joseph). As the sole survivor, Sigrid vows to kill Thor and is helped by the conniving Loki to get her vengeance, even though everything was orchestrated by Loki for his own personal agenda. With Leif by her side, she embarks on a quest to gather a band of formidable warriors and convince the old gods of Vanir to fight the Aesir gods—Thor and the others on Asgard.

The animation designs, especially for Sigrid, initially reminded me of the 2009 animated movie The Secret of Kells, which is also a Viking-themed fantasy story but was somehow a lot more magical in nature. While the animation is pretty good for the most part, some of the character designs feel repetitive. For example, Thor and another character from Sigrid’s warrior gang, who wears a wolf-skin, look almost identical. And Zack Snyder, of course, seems to have some aversion to colors (remember ‘Rebel Moon’?), because the palette and color scheme of Twilight of the Gods is often monochromatic and mundane. It would’ve been a lot more vibrant, dynamic, and entertaining to watch if the animators were allowed to use a few more colors, like in the animated series Blood of Zeus.

For those unfamiliar with Norse mythology, “Twilight of the Gods” is rich with lore, with some quick breakdown of how Odin became a powerful deity and the two different groups of Norse Gods that existed in the olden times – the Aesir and the Vanir. I loved how character often tell stories and legends to each other while they are traveling or simply preparing for war and swapping tales for courage/inspiration. The background music was a mixed bag, some tracks complimented the storytelling, while other tracks felt out of place and off the mark, especially in the last few episodes that are focused on the epic war between the army led by Sigrid against Thor at Asgard.

Vengeance and arrogance of the Gods is the primary theme of “Twilight of the Gods”, with Thor being slightly more rash and violent than his Greek-counterpart – Zeus. Unlike the goofy Marvel Thor some viewers have gotten used to, this animated series depicts him for what he really was – a power-hungry, lustful, wrathful, jealous, megalomaniac God. Loki, for me, was the only character in the series that makes a strong impression. His character design is starkly different from the others, a little like an updated, vampire-ish version of the cartoon Hades from the 1990s Disney film—he is grey, evil, and always scheming against his brother. He shape-shifts and is always up to mischief, with Sigrid being a pawn in his mind games.

The final episode of “Twilight of the Gods” is over 40-minutes long, almost twice the size of the other episodes, and I really thought Zack Snyder would wrap up the momentous war against the old Norse gods in the series, but he doesn’t! In-fact, the last two episodes were sluggishly paced and certainly don’t keep the viewer at the edge of their seat, despite the epic proportions of Gods fighting Gods. I guess I would watch a season two, or a follow-up film to this show, since overall it’s a pretty engaging show about Nordic myths, legends and lore.

Rating: 6.5 on 10. Watch the series on Netflix.

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Happy of the End Review: Love, Trauma, and Despair Collide

Sneha Jaiswal (Twitter | Instagram)

“I want to die”

Those are probably not the first words you’d expect to hear after a kiss. But, well, the Japanese series Happy of the End isn’t your typical romantic drama either.

Kashiwagi Chihiro is young, beautiful, penniless, disowned by his family for being gay, and thrown to the streets by his latest lover for being unfaithful. One day, at a bar, he meets Keito, a good-looking guy who is exactly his type. Hoping to hook up, Chihiro makes his move, only to wake up in a dumpster with wounds. Thus begins a stormy, violent, uncertain relationship between the homeless Chihiro and the volatile Keito, who was trafficked as a child and has an awfully abusive past. The two start off on the wrong foot, but Keito takes in Chihiro like one does a stray dog, and an unequal affair brews between the two.

Directed by Furumaya Tomoyuki (‘Candy Color Paradox’), the eight-episode series is based on the manga Happy of the End (ハッピー・オブ・ジ・エンド) by Ogeretsu Tanaka. Beppu Yurai plays the 23-year-old Chihiro, who does odd jobs to survive and is known to leech off his lovers. Sawamura Rei is the mysterious Keito, abandoned by his mother as a child and exploited by a violent pimp called Maya (Asari Yosuke), forced into becoming an underage sex worker. However, when Chihiro and Keito meet, Keito has broken from his old life but continues to dabble in illegal street work as a ‘freelancer.’ So, unlike its deceptive title, Happy of the End is about two broken young men starting a parasitic relationship, which eventually leads to love and tears. Keito’s awful past continues to haunt him, and Chihiro becomes collateral damage.

Happy of the End is a bleak, dark, noir-like series, which heavily delves into Keito’s disturbing past, including a lot of abuse as an underage sex worker brutally exploited by adults. Director Furumaya Tomoyuki captures the ugly side of Japan’s illegal sex trade without showing any explicit sexual scenes. Keito’s childhood trauma is hauntingly captured in scenes where he observes his own past like a helpless spectator – a cinematic technique that viscerally conveys what PTSD can feel like. Fujiwara Kiyora plays a young Keito, who looks vacant, defeated, as an abandoned child left at the mercy of the wolfish Maya. Kubota Yuki plays Kaji, another man from the streets, who helps Keito find a new gig and the two become thick friends.

Asari Yosuke is snake-like in his depiction of Maya, an unhinged scummy human who’d go to any lengths for money, which includes forcing orphaned children into the flesh trade. It’s weird that a crook like Maya is shown to be jailed and is let off within a few years, which makes one wonder if it’s simply a convenient plot device to keep the villain out for drama and conflict in the plot, or reflective of how easy it is for sexual offenders to get off the hook by serving a paltry few years in jail. Anyway…

Ironically, even though Beppu Yurai and Sawamura Rei are individually very convincing as Chihiro and Keito, the romantic chemistry between the two is lacking. There’s no sexual tension in the air, and their equation feels more platonic, despite their characters being desperately in need of each other. One would expect the kind of chemistry that exists between Riku Hagiwara and Yûsei Yagi in the Japanese series Utsukushii Kare, which, of course, is a very different kind of drama (twisted in its own little ways) but certainly sets a high bar for onscreen sparks in gay romances.

Happy of the End is ambitious in its plot, but the eight episodes aren’t enough to cover the scale of tragedy in Keito’s life, or his existential crisis and in the process, Chihiro’s character almost feels sidelined. For instance, there’s a scene where Chihiro accidentally runs into his estranged sibling, and there’s very little interaction between the two, which makes the scene feel random and unnecessary. Chihiro simply tells the viewers through his conversation with Keito that he was forsaken by his family; viewers never really get the kind of glimpse they deserve into his life.

Regardless, despite Chihiro’s own personal problems, he is a cheery, laid-back young man, completely smitten by Keito, and can bring some unexpected warmth into the latter’s life. The seventh episode of Happy of the End has an infuriating, horrid twist, which gives the antagonist in the tale unbridled power to mess with Keito and ultimately leads to some unhappy consequences. The series remains consistently glum and slightly noir-like in tone, with the cinematography vividly bringing to life the frugal, fragile circumstances under which the leads live. The climactic episode juxtaposes extreme moments of joy and sorrow experienced by the protagonists but finally closes Happy of the End with an open-ended curtain call that promises a satisfactory conclusion for Chihiro and his beautiful but broken man.

Rating: 6.5/10. You can watch the series on GagaOolala.

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Unsung Hero Review: A Family’s Struggle Sings But With Usual Notes

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Riches to rags to riches again. That’s the story of the Smallbone family, led by patriarch David Smallbone, who is introduced as an ambitious Australian music promoter, living with his wife and six kids in a swanky mansion complete with a big swimming pool. All that changes when the Australian economy crashes, and David loses all his money on a failed music tour for a popular American musician. He moves with his family to America with the prospect of a new role, which falls through on the very first day, leaving the Smallbone family doing odd jobs to survive in the new country.

Directed by Richard L. Ramsey and Joel Smallbone, Unsung Hero is based on the true story of David Smallbone and his wife Helen (Daisy Betts) struggling to make their second innings in the U.S. work with their six children and a seventh baby on the way. Joel Smallbone plays his father David, and I guess this is a very Christmas-themed family film—about a loving couple with half a dozen kids placing their faith in God and helpful neighbors to see them through. “Are you Catholic?” a customs official asks Mrs. Smallbone when he sees her with the line of kids.

If it weren’t for the novelty factor that Unsung Hero is based on a true story, the movie might’ve been utterly mundane, thanks to its very predictable plot. Rich, happy family loses money, moves to a big bad country, works together, and gets rich again. That’s pretty much what happens, like a good old Christmas play, where the Smallbone family always finds a little ‘miracle’ (charitable neighbors) when they are in dire need of something (food, a car, even furniture).

One of the most charming things about Unsung Hero were the brief bits where younger siblings Joel Smallbone (Diesel La Torraca) and Luke Smallbone (JJ Pantano) break out into song when they are happy or emotional, and I would’ve liked to see more of the little kids in the story. In fact, despite being a major theme, the music in Unsung Hero, though pleasant, doesn’t get the space it deserves.

Kirrilee Berger plays one of the older siblings—Rebecca Smallbone—who has an angelic voice. When left out of options, her father tries to promote her to labels as a way for their family to come out of the financial slump they are in. Much of the drama comes from Joel’s insecurities and his inability to make his career work in America, so his family lives in urban poverty for weeks. Joel Smallbone and Daisy Betts make a memorable onscreen couple as David and Rebecca; however, they don’t really deliver a standout performance. With a family of eight people and a two-hour runtime, the time is fragmented between several characters, and nobody is able to deliver a punchy performance.

Regardless, Unsung Hero is a decent one-time watch about a big family trying to adjust to a new country with very little money but lots of help from the community.

Rating: 6 out of 10. You can watch Unsung Hero on Netflix.

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Spielabend Review: A Chaotic and Fun-Filled Game Night

Rating: 3 out of 5.

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When Jan’s (Dennis Mojen) dog starts humping Pia’s (Janina Uhse) dog, the situation escalates into an awkward yet comical exchange of flirty banter. Jan’s cheesy wit shines, and Pia meets him with equal playfulness, setting the tone for what’s to come. The casual conversation soon leads to a phone number exchange and a series of dates. Their relationship, still in its early stages, is marked by one common thread: both are flat broke. Jan is a rugged, somewhat dim-witted bicycle mechanic with his own small shop, while Pia is a struggling photographer.

Things take a hilarious turn when Pia invites Jan to her regular “Spielabend” (Game Night/Blame The Game) at her friend’s lavish mansion on the outskirts of town. Enter Jan’s best friend and self-appointed “life advisor,” Jans (Edin Hasanovic), whose misguided advice fuels much of the film’s humor. At the game night, disaster strikes when Jan presents the host with a cycling airbag—a gift chosen by Jans—that accidentally inflates and chokes her. It’s only the first of many mishaps.

As the night progresses, the comedy deepens with one chaotic event after another, often sparked by Jan’s well-meaning but clueless actions. He accidentally “frees” the host’s prized parrot and immediately calls Jans for backup, only for his friend to worsen the situation with his own antics, escalating the mayhem.

What sets Spielabend apart is how the script seamlessly weaves personal troubles into the absurdity. Amidst the chaos, Pia’s jealous ex-boyfriend shows up, throwing even more fuel on the fire. Despite the madness, the film manages to balance the humor with genuine moments of character vulnerability and relationship dynamics.

Ultimately, Spielabend delivers a mix of laughs, awkward moments, and charming chaos, making it an enjoyable watch for a relaxed evening with friends or a fun date night. It’s not groundbreaking, but it’s certainly entertaining enough to keep you laughing throughout.

Rating: 6.5/10. You can watch Spielabend on Netflix.

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The Girl and the Glim: Graphic Novel Review

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“The Girl and the Glim” by India Swift is a cute graphic novel that follows Bridgette, a young girl who has just moved to a new town and is eager to make new friends. I immediately loved Bridgette’s spirit. Unlike most protagonists in ‘new girl in town’ stories, who tend to whine, cry, sulk, and generally be miserable about moving, Bridgette is optimistic about starting over. While she’s clearly sad about leaving her best friends behind, she hopes for reunion meetings where they can catch up (though we know that’s not really happening, is it?).

At first, I wasn’t sure what “The Girl and the Glim” would be about, but it centers on Bridgette’s struggles. Despite her positive outlook, she is bullied at her new school by her classmates and she quietly endures everything. In one incident, after a bully locks her in a room, Bridgette escapes through a window and finds herself in a forest, where she encounters a monstrous bear composed of tiny black creatures she calls ‘Glum.’ However, unlike these scary black monsters, she also discovers a shiny little creature that looks like a mix between a spider and a dandelion. Instead of dwelling on the bullying, Bridgette focuses on capturing the black monsters with the help of her new sparkly companion, whom she names ‘Glim.’ Hence the title – The Girl and the Glim.

The artwork by India Swift is the best part of this quick read. Unfortunately, the graphic novel ends abruptly, without explaining who or what the black creatures are. I had assumed it was a standalone story, but it’s not, so fair warning – maybe hold off until Volume 2 is in sight. However, if you don’t mind open-ended climaxes, the comic has some super fun illustrations with a real Cartoon Network vibe – think Dexter’s Laboratory, with Bridgette channeling Dee Dee’s energy. She’s not as wild or crazy, but instead is a lot more innocent, nice, and cheery. Her parents are both mental health professionals, who do sense something is amiss with Bridgette’s behavior, but don’t really intervene in the story so far.

Rating: 3 on 5.

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Schwarze Insel Review: A Thriller That Drowns in Predictability

Rating: 3 out of 5.

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‘Incest Island’ might have been a more fitting title for Schwarze Insel (English: Black Island), a German thriller that promises intrigue but gets lost in missed opportunities.

The film opens with a double tragedy: Jonas (Philip Froissant) loses both parents in a car accident as they return from his grandmother’s funeral. Their vehicle crashes into a tree, swerving to avoid an oncoming car driving straight at them, and thus begins Jonas’ unsettling stay on the eerie ‘Black Island.’ At his grandfather’s suggestion, Jonas remains on the island rather than move away.

What starts as an innocent romance with his friend Nina soon turns twisted when Helena (Alice Dwyer), a mysterious new German teacher, arrives in town. She takes a keen interest in Jonas’ poetry, nurturing his talent—and then more. Their relationship turns intimate, pushing Nina into a jealous investigation of this enigmatic woman. Suspicion thickens when Jonas’ grandfather collapses in shock after locking eyes with Helena, hinting at a dark past. Nina’s discoveries lead her to a chilling truth: Helena is the daughter of a former teacher who died under mysterious circumstances.

This is where the film stumbles. Instead of building suspense to a thrilling climax, Schwarze Insel gives away its secrets far too early. Helena’s quest for revenge, along with her plan to kill Jonas, is revealed halfway through. The result? A predictable second half that drains any remaining tension. To top it off, Helena murders Nina—her sole threat to keeping her identity hidden—by strangling her to death.

The final twist, if you can call it that, arrives in a flat confession: Helena is actually Jonas’ aunt. So yes, all this while, she’s been sleeping with her nephew. The film ends without much fanfare or surprise—Jonas survives her murder attempt after a brief, underwhelming struggle where Helena tries to drown him.

Despite its potential, Schwarze Insel falls short due to its mishandling of suspense. The setting, however, deserves praise: the dark, grey, and isolated island provides a perfect backdrop for murder and mystery. The leads, Froissant and Dwyer, perform well within the limits of the script. But by revealing its cards too soon, the film loses the tension it desperately needed.

Overall, Schwarze Insel may hold your attention, but it leaves you wishing it had kept its secrets longer.

Rating: 6 on 10. Watch the movie on Netflix.

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‘Gifted’ Review: Chris Evans Raises a Genius

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Frank’s life completely changes when his genius mathematician sister kills herself and leaves her baby Mary in his care. The handsome bachelor takes his uncle duties very seriously, and as Mary gets older, Frank realizes she is a child prodigy and finds himself torn between letting Mary live like an ordinary child and letting her to go to a special school for genius kids like her that will might end things for her the way it did for her mother.

Directed by Marc Webb (500 Days of Summer/Amazing Spiderman) and written by Tom Flynn, “Gifted” stars Chris Evans as Frank, while Mckenna Grace plays his adorably moody little niece Mary. Octavia Spencer is their fierce next neighbor Roberta, who absolutely dotes upon Mary and warns Frank that special kids like Mary cannot stay under the radar for too long. Soon enough, Frank finds himself in a custody battle for Mary with his own mother Evelyn (Lindsay Duncan).

“Gifted” is a poignant look at the dilemmas faced by those in charge of raising gifted children, even though it doesn’t offer any coherent solutions. Frank doesn’t want Mary whisked away to a fancy institution, where she will be buried in books all the time with older adults, while she should be making friends her own age, playing, and experiencing the little joys of life like regular kids. Jenny Slate plays Bonnie, Mary’s teacher at school, who notices Mary’s exceptional math skills and brings them to light with the principal. Bonnie also ends up striking a cozy friendship with Frank when she goes to explain to him that she never intended her actions to spark a custody war.

McKenna Grace is immediately likable as little genius Mary, who gets bored out her brains at school, where kids her age are still learning “2+2=4”. But despite her advanced intelligence, she isn’t asocial or socially awkward like Sheldon Cooper (McKenna Grace played a similar girl genius role in the series ‘Young Sheldon’) and loves spending time with her pet cat and uncle Frank. Despite leading an unconventional life repairing boats and spending Friday evenings at a bar, Frank is always there for his niece.

Chris Evans and Mckenna Grace don’t just look like uncle-niece but feel more like father-daughter in ‘Gifted’ and their onscreen comfort around each other really elevates the storytelling. You will want to root for Frank to get Mary’s custody, even if he by his own admission doesn’t know what’s the best for the girl’s future, but he does have her best interests at heart. There’s a beautiful beach scene in the second-half of the film, where Mary simply lounges on her uncle’s lap, or tries to climb to his shoulders, just like any little kid would with a adult they trust, and that body-language is conveyed with ease and without any artifice.

The custody battle in “Gifted” between Frank and his mother does not overshadow what’s going on with Mary, even though it obviously becomes a turning point in the tale. After a few unexpected turning points in the tale, which bring much grief to all involved parties, “Gifted” ends with a heart-warming climax. If you’re up for an uncle-niece tale with a twist, give this a chance.

Rating: 7.5 on 10. You can watch ‘Gifted’ on Netflix.

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Uglies Review: Joey King Uncovers The Ugly Side of Beauty

Rating: 2.5 out of 5.

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“All my life, I wanted to be pretty. I thought it would change everything.”

Based on the dystopian novels by Scott Westerfeld, Netflix’s 2024 sci-fi movie “Uglies” is set in a futuristic society obsessed with beauty. In this world, everyone undergoes a mandatory cosmetic procedure at the age of sixteen and gets to live a ‘happily ever after’ in a glitzy city run by Dr. Cable (Laverne Cox). Joey King, who was last seen in the Netflix romantic-comedy “A Family Affair,” stars as Tally Youngblood, a young girl eagerly awaiting her turn to become ‘pretty’. However, just before the big day, her friend Shay (Brianne Tju) runs away to be part of an alternate community known as ‘the smoke’, and Tally is dispatched by Dr. Cable to find their hideout.

Directed by McG, “Uglies” is like a mash between the dystopian “Divergent” movies and “The Stepford Wives”, since it’s about a society where teens undergo a cosmetic makeover and start behaving pretty much like humanoid robots. Tally is told by Dr. Cable that their perfect world is being threatened by ‘the smoke’, which is run by David (Keith Powers), who allegedly brainwashes youngsters and aims at destroying her city. When Tally infiltrates ‘The Smoke’, she sees a completely different world from what she was expecting and must choose between betraying her new friends or the familiar Dr. Cable, with whom she can get a ‘pretty’ face she always desired. Not just that, she would also get to join her best-friend Peris (Chase Stokes), with who she grew up.

At just an hour and forty minutes, Uglies delivers an underwhelming and familiar story about how authoritarian regimes manipulate history and breed insecurity. The transformation the teenagers undergo is more than skin-deep—memories seem to be altered too. Separated from the ‘pretty’ people, the teens are left in the dark about what truly happens after they become ‘beautiful’. Tally thanks to her rebellious nature, is able to see the difference first hand.

The world-building in Uglies isn’t very expansive, but it does feature some really cool hoverboard sequences as Shay is shown hoverboarding her way around. Some of the special effects looked like they were from an outdated game, though. There are a few cool gadgets in Uglies, but they aren’t featured very prominently. I feel like maybe this should’ve been a mini-series, because despite an intriguing premise, none of the characters stick—there’s just not enough time for their development. Joey King’s Tally is the only one who manages to leave an impression.

Rating: 5 on 10. Watch “Uglies” on Netflix.

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