Review of Hurry Up Tomorrow, starring The Weeknd

There’s nothing like a Hydra of pressure, doubt, and insomnia to torment an artist’s ego. The trappings of stardom test Abel Tesfaye, better known as pop-megastar The Weeknd, in this fictional portrayal of himself. After seeing Waves, the music sensation knew it was director Trey Edward Shults he wanted to catalyze his boldly personal vision. Their collocative writing explores the nature of obsessive behavior, insecurities, and self-righteousness. The vessel is an unnerving depiction of a confused and vulnerable superstar baited by unstable admirer Anima (Jenna Ortega, Wednesday) who carries principled intentions with dangerous methods.

Chasing the evasive dragon of validation, we meet Abel incomplete, unsure, and lost despite fame and fortune. Codependency and a decayed relationship are heightening his insecurities, as his manager and friend, Lee (Barry Keoghan, Saltburn) battles to provide support while keeping his career in focus. Surviving off an unhealthy diet of companionship, Anima swoops in on the exposed weakness, sneaking backstage at his concert. Only seeing the comfort he craves in her seemingly pure attraction, the singer becomes easy prey. 

Hypnotic visuals and enchanting sound

Strikingly stylish with music video echoes, Shults exhibits solid camera work paired with a detailed sound design. A sweeping 360 shot captures Anima driving violently through a bleak, empty, snowy surrounding, representing how nothing or no one else exists amidst her rageful action. Precise aesthetics are clearly the film’s foundation, yet while leaning on this strong suit, it struggles to form a compelling composition. Famed music video director Hype Williams’ film Belly met praise for its’ unique look while not trying to be more than it was, whereas this offering takes itself very seriously.

Ortega makes Anima’s volatility recognizable as it creeps through the screen, inducing intended anxiety in the viewer. Akin to Abel’s denial of his attachment issues, Anima dwells in a similar space. Rather than acknowledging her own pain, she pacifies it by what she believes is a justified act. While terrorizing the conflicted protagonist, she picks him apart, forcing him to examine his issues. The movie never grabs hold of its pace though, and the obsessed stalker component becomes less Misery and more Saw.

Heavy plot missing character development

Keoghan’s natural ability and Ortega’s commanding presence inescapably dominate, unfortunately so much so that they up underscoring Abel’s lackluster performance. His scenes delivering dramatic dialogue lay flat and rouse unintentional amusement. The Max series The Idol he starred in missed the green altogether, and this doesn’t land much closer to the hole.

The film doesn’t spell everything out for you, what’s going to happen next is kept enigmatic. A sculpted unpredictability like that should occupy your attention, but instead you’re left uninvested in the rising action or resolution. Fans of The Weeknd may welcome this picture with open arms, but it will be a feat to avoid dissatisfaction and impress general moviegoers.

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