‘The Ugly’ Review – A Gripping Tragedy That Can’t Escape Its Cruelty

The Ugly completely hinges on what individuals perceive as beauty; it’s more mean-spirited than it is uplifting. Writer and director Yeon Sang-ho crafts a film that explores a forgotten life through a murder mystery, shining a glaring light on the harshness of being deemed ugly. Structured with its fair share of flashbacks to unravel a 40-year-old murder, the film struggles to establish a consistent and effective tone. With perfectly placed framing to avoid showing the victim’s face, its grand reveal challenges the audience to reconsider their perceptions of what is considered unattractive.

Based on Sang-ho’s 2018 graphic novel of the same name, The Ugly focuses on the lives of a blind stamp maker, Lim Yeong-gyu (Kwon Hae-hyo), and his business-savvy son, Lim Dong-hwan (Park Jeong-min, who also plays the younger version of his father). Dong-hwan has set up a documentary team to come into his father’s home and business in an effort to show how talented his father is—to be able to carve stamps of such high regard while being visually impaired. Leading the film crew is Kim Su-jin (Han Ji-hyeon), who attempts to learn more about Yeong-gyu’s personal life. Her prying makes their production halt, but not for long. As their filming concludes, the body of a 40-year-old murder victim is found, revealing a mother and wife who was long forgotten.

When it’s discovered that the remains of Dong-hwan’s mother, Jung Young-hee (Shin Hyun-been), have been found, there’s a sense of grief that is felt—but not in the usual sense. Grief for a woman who seemingly disappeared, and no one cared. A woman whom even her sisters vilified for being unattractive and causing issues within their dysfunctional family. There are no pictures of Young-hee available to use for her ceremony—a funeral for a faceless and seemingly unloved woman. Dong-hwan and his father hold a small service for their lost loved one, which in turn poses more questions than closure for both men.

Sang-ho’s script is laid out in separate chapters that hold interviews conducted by Kim Su-jin and Dong-hwan. Each interview gives the pair information that furthers their confusion about what happened to Young-hee. Ex-co-workers are interviewed, and again the topic of her physical appearance is brought up, often overshadowing any of the kinder merits that are given to Young-hee. It’s an interesting way to get to know her character, with flashbacks to her life as a clothing factory worker and the torment that she was put through. Thanks to Hyun-been’s heartbreaking performance, it’s easy to connect with her character even when her face goes unseen. As the story progresses, Dong-hwan must face unimaginable pain when confronting the abuse his mother suffered.

The Ugly is at its best when it’s engaging in Young-hee’s story—how she was much more than just the punching bag for everyone in her life. Her advocacy to stand up for women facing systemic abuse is admirable. This is the most compelling aspect of the film and shows a woman who is more than just her looks, which were deemed disgusting. Young-hee has a kind soul that attracts her to Yeong-gyu, who was working outside of her job site when they were young. Both were drawn to one another through their shared experiences of people being cruel. Their love and relationship are touching—even when they are struggling with a new child, it’s easy to root for their happiness.

All the strides in Young-hee’s characterization simply fall apart when the film is unkind to its core. When the twist is revealed, it leaves a sour taste. It could be the nihilistic nature of the film, but it’s hard to believe that someone being unconventional looking would deal with this drastic of treatment. A woman who was brutalized in life with physical and mental abuse doesn’t even get respect in death. With a husband who has forgotten about her, a son who grew up without her, and acquaintances who still don’t feel remorse for their treatment of her, The Ugly treats its victim almost as harshly as those in her life. When the cause of her fate is discovered, it’s quickly overshadowed by a son’s arrogance. What starts as a mysterious puzzle that a son wants to solve quickly unravels with an inconsistent tone, where humor and tension don’t mix.

It’s not easy to go an entire movie without seeing the face of its main conflict, and The Ugly has numerous calculated shots that avoid showing the face of Young-hee. Pyo Sang-woo’s cinematography frames each moment of her screen time masterfully, making sure that when her appearance is revealed, it makes an impact. Whether those watching are as superficial as those in Young-hee’s life or not, the choice to keep her hidden works. Sang-woo uses the environment in the clothing factory to drape over her head, or her messy hair that’s constantly falling into her face. When her true self is shown, the only takeaway that can be discerned is that all of that harassment was over a woman who was, at worst, average. But if she were truly as ugly as they said, would the treatment be justified?

Ultimately, where The Ugly shines is in humanizing those society deems unworthy of love, giving life to a woman who was discarded by everyone around her. It’s powerful while exploring her struggles and her strength to stand up for the right thing. But it’s hard to shake its malice when her fate is unchangeable and her good heart is snuffed out.

The Ugly will debut in theaters on September 26, 2025, courtesy of Well Go USA.