AnySelected

Trey Edward Shults' Hurry Up Tomorrow arrives with significant buzz, largely fueled by its star-studded cast – The Weeknd (Abel Tesfaye), Jenna Ortega, and Barry Keoghan – and its promise as a visually arresting musical drama. However, beneath the glossy veneer lies a film struggling to find its footing, ultimately delivering a protracted and often perplexing experience for both its protagonist and the audience.

The film centers on Abel, a wildly successful but deeply troubled pop star grappling with grief, paranoia, and a crumbling sense of self. He's haunted by visions of a tragic past and increasingly isolated from reality, a state exacerbated by the pressures of fame and the relentless demands of his career. Ortega plays Cherry, a mysterious figure who enters his life, and Keoghan embodies a menacing, almost otherworldly presence that further destabilizes Abel’s fragile mental state.

Hurry Up Tomorrow is clearly intended as a showcase for The Weeknd’s musical talents and a vehicle for promoting his latest album. While the soundtrack itself is undeniably strong, featuring his signature blend of R&B, electronic, and pop, its integration into the narrative feels forced and often distracting. The songs frequently interrupt the flow of the story, feeling less like organic expressions of Abel’s emotions and more like carefully placed advertisements. The film frequently transitions into elaborate musical sequences that, while visually ambitious, ultimately detract from the emotional core of the narrative.

Shults' direction, known for its surreal and unsettling atmosphere, is on full display here. The film is visually striking, with a dreamlike quality that reflects Abel’s fractured psyche. The cinematography is gorgeous, employing a saturated color palette and inventive camera angles to create a sense of unease and disorientation. However, this stylistic flourish often comes at the expense of clarity and coherence. The narrative meanders, introducing numerous cryptic plot threads that are never fully resolved, leaving the audience feeling lost and frustrated.

The performances are a mixed bag. The Weeknd, while committed to the role, often feels stiff and detached, struggling to convey the depth of Abel’s inner turmoil. Ortega delivers a compellingly enigmatic performance, but her character remains largely underdeveloped. Keoghan, as always, is captivating, but his screen time is limited, and his character’s motivations remain obscure.

Ultimately, Hurry Up Tomorrow is a disappointing endeavor. It’s a film brimming with potential, boasting a talented cast and a compelling premise, but hampered by a convoluted plot, an overreliance on musical interludes, and a lack of emotional resonance. While it may appeal to die-hard fans of The Weeknd, most viewers will likely find themselves wishing for a quicker resolution to this bleak and ultimately unsatisfying drama. It aims for profound, but lands squarely in the territory of pretentious and overlong.