‘Hurry Up Tomorrow’ Review: The Weeknd’s Cinematic Apology for a Flubbed Concert Performance Should Issue Its Own

by

Many popular musicians have issued apologies for issues during their concerts or personal mistakes that unexpectedly went public. Before “Hurry Up Tomorrow,” it’s challenging to recall another instance where they portrayed those experiences in a movie, especially one they were involved in writing and acting for. The film is loosely based on an event in 2022 when globally recognized artist Abel Tesfaye abruptly ended a concert during the first song. In the movie, a character that seems to be a veiled representation of The Weeknd deals with the physical, professional, and emotional consequences of one of the most high-profile failures of his career.

Similar to his last acting venture on Sam Levinson’s HBO series “The Idol,” The Weeknd again recruits top-tier talent – in this instance, “Waves” director Trey Edward Shults – to breathe life into his self-portrayed character in the film “Hurry Up Tomorrow.” However, despite the impressive acting efforts of Jenna Ortega and Barry Keoghan, the movie seems to display pop star arrogance disguised as artistic sincerity. The performances are commendable, but they can’t entirely mask the emerging actor’s hubris in the narrative.

The day following a harsh voicemail from his girlfriend Riley Keough, portrayed off-screen, the Weeknd delivers a concert performance in an arena, a task he’s accomplished numerous times before. His manager and longtime friend Lee (Keoghan) encourages him, providing support and when necessary, medication. However, Abel grows more distraught over the breakup, asserting that his vocal issues necessitate a pause in his international tour. A doctor asserts that these symptoms are psychosomatic and he simply needs rest. At the next tour stop, during the opening number, the Weeknd collapses dramatically, cancelling the show immediately due to losing his voice.

Finding Lee at fault for not catering to his requirements, Abel leaves the stadium and runs into Anima (Ortega), a spectator he had eye contact with during his meltdown. They spend time together at a seaside walkway, then hide in a foreign hotel to avoid a relentless Lee. The next day, Abel appears to have recovered from his panic, but Anima isn’t ready for their bonding session to conclude. A disagreement arises and Abel soon understands that the woman who provided him solace and support during his vulnerable moment has her own tumultuous past and believes a shared future can solve the issues they each face.

I had the opportunity to kickstart the filming of Shults’ movie “Hurry Up Tomorrow” a few months prior to its 2023 premiere, following the success of “The Idol.” From the very first shot focusing on the singer’s pre-concert vocal warm-ups, it appears this film is oblivious to the harsh criticism that was yet to come. Unfortunately, it shares a striking resemblance with the self-indulgent nature of its predecessor.

The opening breakup voicemail serves as a subtle foreshadowing of the Weeknd’s character’s cruelty in private relationships, but his subsequent actions, fueled by immense wealth and an inner circle of sycophantic advisors, only serve to highlight the leniency shown towards him. However, it was during pre-production where his real-life advisers could have provided the most effective assistance or even protected him from himself.

The predictable themes of celebrity life and the notion that celebrities face similar issues as regular people are often used in storytelling. However, the movie doesn’t offer anything fresh on these topics. The actor, Tesfaye, choosing to portray himself in a film about a well-known event feels like an attempt to explain or justify something that has already been accepted and moved past by the world. Yet it remains unclear what message he intends for audiences to derive from this self-critical narrative veiled in disturbing visuals. In other words, it seems Tesfaye is reluctant to admit his mistake in a public setting, but it’s not clear what he hopes viewers will learn or understand from this film.

One possibility is that his songs might be more personal than they appear, as Anima suggests through an analysis of various tracks throughout his career. It’s not difficult to assume that most artists draw from a profound wellspring of personal inspirations for their work. However, the realization that this is often the case may seem more like common sense than a surprising revelation, failing to shed light on what prompted him to create hit songs such as “Blinding Lights” or tracks like “Gasoline” from “Dawn FM,” where he reinterprets the ’80s classic “Somebody’s Watching Me,” taking on both Maxwell and Michael Jackson’s roles.

Similar to Tesfaye’s introspective style, Shults employs various techniques from music videos to create a vibrant, exaggerated yet somewhat unreal world where The Weeknd serves as the central, radiant star. Reminiscent of discarded scenes from Vincent Gallo’s self-indulgent “Brown Bunny,” he utilizes spinning cameras to film numerous sequences of driving and contemplation, all underscored by a score from Daniel Lopatin that pulsates and undulates like a chaotic synthesizer apocalypse. However, despite Shults’ collaborative efforts on the script with Tesfaye and Fahim, they seem unable (or uninterested) to generate enough substantial content for a full narrative. Instead, they rely heavily on atmosphere, punctuated by expected conflicts and ultimately, violence.

Despite various opinions, it remains undecided whether Tesfaye possesses strong acting skills. His facial expressions, which could be used in future internet memes (such as a scene where he looks around doubtfully), are quite memorable. However, there are instances where his portrayal convincingly conveys the turmoil of his character. Keoghan appears to enjoy his role the most among the three central characters, skillfully walking the tightrope between being confident and manipulative, all while wearing stylish cardigans. Ortega takes on the challenging task of portraying Lee’s counterpart, a role that requires her to push the Weeknd hard while carrying deep emotional baggage. Her character seems to mirror an intense, therapeutic version of Kathy Bates in “Misery,” as the film’s structure leaves her in a role that feels more like aggressive therapy than a typical dramatic performance.

Essentially, Tesfaye finds himself in a similar predicament as artists like Taylor Swift and Rihanna, where their personas are so ingrained in the public’s mind that they only accept them in roles that subtly reflect these personas. Shults’ film may not enhance this desire, not because it doesn’t delve into the harsh realities of fame’s pressures, but because it suggests indifference to the perceived flaws within The Weeknd, such as being rude or narcissistic, which are seemingly unrelated to his celebrity status. In essence, let “Hurry Up Tomorrow” serve as the final statement on this matter; I believe his fans will forgive him if they haven’t already, and perhaps he should refrain from issuing further apologies that may necessitate more apologizes in the future.

Read More

2025-05-16 01:17