Jenna Ortega and The Weeknd’s Pop Star Drama: A Disjointed Experience
In the world of cinematic music dramas, expectations can be as high as the stars themselves. Unfortunately, Hurry Up Tomorrow, the latest film featuring the pop sensation Abel Tesfaye, aka The Weeknd, and rising star Jenna Ortega, stumbles under the weight of its lofty ambitions.
A Misguided Journey into the Spotlight
From the outset, it’s essential to acknowledge The Weeknd’s musical prowess. Songs like "Blinding Lights" and "Starboy" showcase his exceptional talent. However, his venture into filmmaking with Hurry Up Tomorrow—a project he co-wrote and co-produced—reveals a different side, one that is surprisingly uninspired and self-indulgent.
Plot? What Plot?
One of the glaring issues with Hurry Up Tomorrow is its lack of a coherent plot. The film drags on for nearly 105 minutes, chronicling the downward spiral of Tesfaye’s character, a pop star drowning in his own melancholy.
A Glimpse into Tesfaye’s World
The narrative outlines a familiar scenario: a troubled artist, grappling with heartbreak and fame. As he embarks on a tour, he finds himself caught in a cycle of anger, sadness, and erratic behavior. His manager, portrayed by Barry Keoghan, attempts to keep him on track with a mix of coercion and tough love—an approach that feels more cliché than creative.
Enter Anima
Alongside this, we meet Jenna Ortega—who plays a character ambiguously named “Anima.” She is introduced in a melodramatic scene where she sets a house ablaze. This act seems to symbolize her tumultuous relationship with Tesfaye, leading her to his concert in Los Angeles.
The Concert That Falls Flat
What should have been an electrifying performance becomes a dull disaster when Tesfaye, overwhelmed by anxiety, cuts the show short—a real-life event reminiscent of his 2022 concert at SoFi Stadium. The film attempts to create a connection between Tesfaye and Ortega, but the chemistry feels forced and bland.
The Cinematic Aesthetic
In the rare moments of visual flair at the Santa Monica Pier, the film seems to promise a reprieve. However, even this escape soon descends back into the malaise of Teasfaye’s melodrama. Despite stunning lighting and cinematographic techniques from renowned director Trey Edward Shults, the film lacks engagement. The concert scenes are shot with minimal energy, focusing on Tesfaye in close-up without any meaningful choreography.
A Thin Narrative Thread
Much of the film revolves around Abel’s inner turmoil while neglecting character development. Toxicity and vulnerability are prominent themes, yet they are explored inconsistently. The only significant moment occurs late in the film when Anima becomes dangerously obsessive—a fleeting moment of excitement amid sprawling dullness.
The Female Representation
It’s worth noting that the film presents a troubling view of women. The only female characters are either absent exes or hyper-volatile groupies, raising questions about how this narrative will resonate with The Weeknd’s female audience.
Final Thoughts: A Failed Ambition
While Hurry Up Tomorrow aims for depth, it instead showcases a neediness that renders Tesfaye’s character irritating. Even the most devoted fans may find themselves fast-forwarding through this flawed narrative. The film ultimately serves as a reminder that not every artist can successfully translate their musical genius into cinematic gold.
Grade: D-
Is Hurry Up Tomorrow a masterpiece or a missed opportunity? The answer is clear—it struggles to find its footing, leaving viewers yearning for more substance and creativity. As we reflect on Tesfaye’s musical legacy, one must wonder how this cinematic endeavor will affect our appreciation of his music moving forward.
For a more in-depth analysis of other cinematic journeys, check out more articles on Entertainment Weekly and explore the evolving landscape of music-infused storytelling.
