by Isabelle Ick
With a storyline packed with school dances and cyber sabotage, The DUFF, released Feb. 20, is a predictable teen movie, albeit with a modern twist. While the film boasts some commendable performances, it fails to address the theme of body image while perpetuating harmful Hollywood beauty standards.Mae Whitman stars as Bianca Piper, a stereotypical misfit who lives in the shadows of her radiant friends, Casey and Jenn. When Bianca’s childhood friend and football hero Wesley Rush (played by Robbie Amell) points out that she is the “DUFF,” or Designated Ugly Fat Friend, of the trio, Bianca questions her friendships as well as her chances with Toby, her guitar-playing crush.
In an effort to prove that she isn’t anyone’s DUFF, Bianca teams up with Wesley to try to reinvent her im- age and hit it off with Toby. BothWhitmanandAmelldo a phenomenal job of portray- ing the unlikely friendship with candid, enjoyable banter. Whitman, with comedic tim- ing and charming wit, suc- cessfully carries the lead role, while Amell provides an en- dearing, realistic spin on the high-school-jock cliché.
Despite strong leads, The DUFF’s characters fill archetypal high school roles, and the plot can easily be predicted from the start by anyone who has ever seen a teen flick. Like many teen movies, The DUFF tries to address topics expected to resonate with young adults, but with limited success. The resolution to Bianca’s search for peace with the DUFF label isn’t gradual or profound, but instead a 90-second speech about labels, which she blurts out in the last 10 minutes of the film.
In addition to the rushed resolution, The DUFF fails to send a message about body image because it casts a beautiful actress and portrays her as unattractive. Bianca, who is not as blonde, slen- der or fashion-oriented as her counterparts, is labeled with qualities she does not pos- sess whatsoever. Even worse, The DUFF makes no attempt to deny that Bianca is neither ugly nor fat, or to clarify that there is nothing wrong with being different.
The DUFF recognizes the popularity and importance of social media and online repu- tations in the modern high school social environment. However, the film falls short of becoming an instant teen classic like The Breakfast Club or Mean Girls because it misses its opportunity to deliver any powerful mes- sage about the perception of beauty.
With a storyline packed with school dances and cyber sabotage, The DUFF, released Feb. 20, is a predictable teen movie, albeit with a modern twist. While the film boasts some commendable performances, it fails to address the theme of body image while perpetuating harmful Hollywood beauty standards.Mae Whitman stars as Bianca Piper, a stereotypical misfit who lives in the shadows of her radiant friends, Casey and Jenn. When Bianca’s childhood friend and football hero Wesley Rush (played by Robbie Amell) points out that she is the “DUFF,” or Designated Ugly Fat Friend, of the trio, Bianca questions her friendships as well as her chances with Toby, her guitar-playing crush.
In an effort to prove that she isn’t anyone’s DUFF, Bianca teams up with Wesley to try to reinvent her im- age and hit it off with Toby. BothWhitmanandAmelldo a phenomenal job of portray- ing the unlikely friendship with candid, enjoyable banter. Whitman, with comedic tim- ing and charming wit, suc- cessfully carries the lead role, while Amell provides an en- dearing, realistic spin on the high-school-jock cliché.
Despite strong leads, The DUFF’s characters fill archetypal high school roles, and the plot can easily be predicted from the start by anyone who has ever seen a teen flick. Like many teen movies, The DUFF tries to address topics expected to resonate with young adults, but with limited success. The resolution to Bianca’s search for peace with the DUFF label isn’t gradual or profound, but instead a 90-second speech about labels, which she blurts out in the last 10 minutes of the film.
In addition to the rushed resolution, The DUFF fails to send a message about body image because it casts a beautiful actress and portrays her as unattractive. Bianca, who is not as blonde, slen- der or fashion-oriented as her counterparts, is labeled with qualities she does not pos- sess whatsoever. Even worse, The DUFF makes no attempt to deny that Bianca is neither ugly nor fat, or to clarify that there is nothing wrong with being different.
The DUFF recognizes the popularity and importance of social media and online repu- tations in the modern high school social environment. However, the film falls short of becoming an instant teen classic like The Breakfast Club or Mean Girls because it misses its opportunity to deliver any powerful mes- sage about the perception of beauty.