Hurry Up Tomorrow Review: A Dull Descent into Celebrity Turmoil
A Pop Star’s Plight
In Hurry Up Tomorrow, we are thrust into the chaotic world of a troubled pop star, played by The Weeknd (Abel Tesfaye). This film, directed by Trey Edward Shults—known for his impressive works such as It Comes At Night and Waves—follows a few tumultuous days in the life of a musician struggling with self-destructive behavior and the haunting fallout of fame. Alongside him is Jenna Ortega, portraying an equally unstable fan whose intersection with Tesfaye explores themes of addiction, heartbreak, and the price of being in the spotlight.
Familiar Tropes
While the film showcases clichéd scenes of debauchery, there’s a reason these tropes endure in Hollywood storytelling. Just before stepping on stage for a much-anticipated performance, Tesfaye finds himself choked by the emotional weight of a voicemail from his ex-girlfriend, who has valid reasons for ending the relationship. In a moment that feels both familiar and predictable, his manager, Lee (Barry Keoghan), proffers both cocaine and a sinister pep talk, framing him as a “godlike superhero.”
As viewers, we brace ourselves for the inevitable downward spiral. The Weeknd’s journey is set to hit rock bottom—a narrative arc that is as unsettling as it is expected—and prompts the question: will he find a way to confront his demons, or will he succumb further into chaos?
An Unlikely Connection
Enter Anima (Jenna Ortega), a fan whose chance encounter with Tesfaye unfolds against the backdrop of his public breakdown. Their relationship twists the familiar formula of wish-fulfillment romances, introducing Anima as a fantastical muse for Tesfaye. The emotional gaze they share amidst a sea of fans sparks a connection, one that is laden with tension and complexity. She embodies a troubled kindred spirit, coming across as a beautiful, much younger figure who mirrors his struggles.
Cross-Promotion or Cinema?
While the narrative offers moments of unpredictability, particularly in the film’s latter half—which leans into Shults’ horror roots—it’s hard to shake the feeling that Hurry Up Tomorrow heavily functions as a cross-promotion for The Weeknd’s latest album. This leads to the uncomfortable conclusion: if the film can’t hold its own in terms of plot and character development, it risks falling into vanity project territory.
In an industry where masterpieces like Purple Rain occasionally arise, we have films like this one, struggling to convey a compelling story beyond the music video aesthetic. Many scenes feel tailor-made for the screen, lacking the narrative weight necessary to justify a 105-minute runtime.
A Self-Absorbed Narrative
Co-written by Tesfaye, Shults, and Reza Fahim—co-creator of the less well-received HBO series The Idol—the film aims to enrich The Weeknd’s artistic narrative, diving into the same emotional depths found in his songs. Regrettably, the storytelling feels embarrassingly self-indulgent and, more critically, rather dull to watch.
Despite boasting impressive visuals and a soundtrack filled with chart-topping hits, Hurry Up Tomorrow fails to secure its ground as a memorable piece of cinema. It leaves audiences yearning for something deeper, more captivating—a genuine exploration of the complexities of fame rather than a mere gloss over the inevitable troubles of celebrity life.
Final Thoughts
In conclusion, while Hurry Up Tomorrow attempts to explore the darker side of fame and self-destruction, it falls short of delivering a gripping narrative. If you’re intrigued by the intricate ties between artistry and personal turmoil, you may find a few moments worth your time. However, for those seeking a groundbreaking film experience, it may feel more like a missed opportunity.
For a deeper dive into struggles within the music industry, you might explore articles from Rolling Stone or check out The Guardian’s critic reviews.
