The Weeknd’s ‘Hurry Up Tomorrow’: A Disappointment of Epic Proportions
Abel Tesfaye, known to the world as The Weeknd, has undeniably commanded attention with his haunting voice and charismatic persona. However, his venture into cinema with Hurry Up Tomorrow leaves audiences feeling more underwhelmed than enchanted. Following in the footsteps of his previous attempt at acting in HBO’s The Idol, this film further confirms that The Weeknd’s acting prowess might not shine as brightly as his musical talent.
A Cinematic Snail’s Pace
Directed by Trey Edward Shults, Hurry Up Tomorrow serves as a theatrical companion to The Weeknd’s upcoming 2025 album. Yet, despite its energetic title, the film disastrously lags, plodding along at a tortuous pace. More than a mere vanity project, it’s a cinematic self-congratulatory exercise that boldly claims the title of the worst movie of the year.
Cyclic Storytelling
Opening and closing with a close-up of Tesla backstage at an arena, the film’s circular narrative cleverly mirrors its lack of substance. Neither profound nor innovative, it leaves viewers yearning for something—anything—more engaging.
As The Weeknd’s character wrestles with the fallout of a voicemail from a mysterious love interest, the film struggles to maintain tension. He’s told, “You’re not a good person,” leaving him mired in self-doubt despite the adoration of thousands awaiting his performance. As he embarks on his opening number, the striking red lighting evokes a sense of his artistic identity—but fails to elevate the film’s mood.
Character Depth or Lack Thereof?
Visual motifs recur throughout, with Abel depicted as both a boxer and a reclusive romantic. His character oscillates between brooding and despondent, hampered by flashes of fleeting emotional insight.
Enter Jenna Ortega’s Anima, whose enigmatic character is introduced through dramatic antics—she tragically douses her home in gasoline before lighting a match and vanishing into the snowy night. Yet, her story is ultimately reduced to a collection of overdramatic sobs, offering neither depth nor relatability.
Psychological Themes Mismanaged
Amidst melodrama, Abel visits a specialist for a vocal cord issue, only to discover it’s stress-induced. This backstory feels lifted from classic tropes, failing to add genuine intrigue to the narrative. The concert scene, where the singer loses his voice, echoes real-life experiences but provides no real stakes for audiences to invest in.
When Abel impulsively escapes the spotlight, he crosses paths with Anima, prompting a series of playful yet superficial escapades. Their trip to the Santa Monica Pier is filled with fleeting joy, but moments of emotional honesty quickly dissolve into hollow exchanges. The shallow revelations fail to deepen their characters or feelings.
Stylistic Overload: A Cinematic Misstep
Shults’ direction attempts to dazzle with rapid zooms, intense color filters, and discordant soundscapes. However, this overindulgence often detracts from genuine character development. The editing feels frantic, leaving viewers dizzy rather than engaged.
Barry Keoghan’s lively portrayal of Abel’s manager Lee provides some levity but doesn’t compensate for the broader narrative’s failings. Ortega swings between dreamy and deranged, failing to leave a lasting impression as Anima.
Drift Towards Self-Indulgence
As Abel grapples with his emotions, he reveals nothing truly worthwhile about themes like estrangement and heartache. Instead, the film devolves into a self-indulgent showcase—a scenario where Abel boasts about mundane aspects of life while the film’s finale critiques his own art. It’s a narcissistic conclusion that feels tasteless and misaligned.
Final Thoughts: A Ponderous Experience
In a landscape rich with cinematic exploration, Hurry Up Tomorrow stands out as painfully tedious. With themes of love and sorrow that feel disconnected and superficial, the film ultimately fails to resonate.
As audiences exit, they may find themselves pondering how a figure as dynamic as The Weeknd could produce such a lackluster offering. Perhaps it’s time for him to stick to the stage rather than the screen, for while he electrifies crowds with his music, cinematic storytelling appears to be a terrain too complex for his current talents.
In short, Hurry Up Tomorrow is a weeping, back-patting experience, the antithesis of what one hopes for in a vibrant cinematic offering.
For more insights on recent cinematic releases, check out Rotten Tomatoes or IndieWire.
