The Stars of The Weeknd and Jenna Ortega in a boring film

The new film Trey Edward Shults “Hurry Up Tomorrow” is part of a large multimedia project that has been built by Tesfaye that has been built by Tesfaye since January 2025, when he released a concept album of the same name. The film seems to use a narration that has been extracted from the album by Co-Screenwriters Shults, Tesfaye, and Reza Fahim, although it is clearly aimed at becoming a type of hallucinatory opera, telling his story through extraordinary emotional beats. And on the surface, of course there are many emotional outpouring. There are tears, screams, and nightmares. Style, even there seems to be an attempt to peek into the darkness of Weeknd.

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But all Electronica who daydream in the soundtrack cannot cover the fact that “fast tomorrow” is boring, ordinary -ordinary, slow bullshit. Bad, friends. Really, very bad. This film does not capture a lot of Sunday complex souls, because it gives megafon to a sad sedative. Tesfaye tries to manage his character on the screen as a problematic and suffering artist, get lost in post-self-solutions (which may be caused by himself), but he never really described the state of separation, or why his ex was so angry with him. Riley Keghough, only seen in the picture and hearing by telephone, playing ex -boyfriend, and he is only credited as “Girl on Voicemail.” Shults and Tesfaye have not made complicated drama about the relationship to be completely wrong, but abstract examinations are pity themselves. Boyfriend is an abstract figure that only exists to allow the main character to wallow in the pathos. The same thing can be said about Anima (Jenna Ortega), a young woman whose eyes caught a concert, and who might provide emotional salvation.

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And, yes, the character is named “Anima,” which will make all Jung students roll their eyes. And that is one part of the smoother symbolism in this spoil chaos.

Shults had previously made several interesting films such as slow horror films “came at night,” and the game of morality that daydreams “Waves.” Here, he appears under the gun, trying to put a kind of depth in an artist who really wants to appear more tortured and complex than possible. Shults combined many abstract extreme close-ups, the ratio of shifts aspects, and even artificially inserted film strokes to capture the old 35mm nuances. In a prominent sequence of nightmares, Shults utilized his mind David Lynch, who described the mother’s figure on a field, warm the child nearby. Do I mention that symbolism is not smooth?

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However, no one can erase how emotionally frustrated “rushing tomorrow”. The film begins with the girl mentioned above in Voicemail who tells Tesfaye (he plays himself) that “Good people won’t do that to someone they love.” What is he doing? It was never explained. If Tesfaye plays the cruel manipulator character, Tedros, from the short-lived shame “idol,” then a message like that will make sense, but here, we wonder what he does that will guarantee such a reaction. We don’t know if he’s wrong. All viewers are made smart is that he suffers.

And, son Howdy, is it a pity party. The separation took place in the middle of the Weeknd world tour, and he might be hysterical mute, like the Liv Ullmann character in “Persona.” A musician lost his voice. See my comments above about the symbolism of the film, vis-à-vis smoothness. A doctor seriously warned him that it was all psychological, and that he risked his throat permanently if he could not overcome the pain. The only character with any toes in reality is Tesfaye Lee manager (Barry Keoghan who is extraordinarily naughty), an enthusiastic Gremlin Coke who uses a serious praise and some Snootful of Snow to get his demands on stage.

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Just like Weeknd’s voice broke on the stage, he locked his eyes with a desperate young Anima. They seem to fall in love instantly, and they do a fast sightseeing to Coney Island (played by the Santa Monica Pier). However, this is likely to be dangerous for our heroes, because Anima was introduced with tears soaking in a remote rural house in gasoline and burning it on fire. Then in the film, Anima will get a hysterical call from his mother (also, strangely, voiced by Riley Keough) wondered why he did that. Anima has no answer.

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By the way, pacing is terrible. When Tesfaye and Anima had their small roller coaster date, we were almost an hour into the film. Nothing happens, but at least we have to wait. That night seemed fun, but this was just a matter of time before the girl’s nightmare girl snapped.

Anima then hurriedly pushed “rushed tomorrow” to the area of ​​”misery”, showing what happened when Superfan who was slightly torn met his hero in a vulnerable position. Good “hurry up tomorrow” and “misery,” celebrities will end up being tied to bed while their fans torture and interrogate them. “Fast tomorrow” is not as heavy, however, because Superfan’s torture involves an essay analysis from the art of real life weeknd. Many will also think about the order of Huey Lewis in “American Psycho,” where a killer basically reads their own review loudly. Tesfaye is basically the worst press interview in the world. The torture scene is not intended to be funny, but many people in my theater – including me – keep laughing.

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Ortega tries to lend the darkness in that role, but wild eyes and illogical behavior make it appear as the character of the semi-class Burton Tim. The biggest assistance of this film (and the biggest laughter) came when Tesfaye finally shook out of a springy and foggy film to tell him to shut up.

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But a question still exists: how do you feel tesfaye about his own work? Is he stating that it is only attractive to the burning of tears and deceived who bind the victims to bed? Does he feel emotionally responsible for songs -songs floating about suffering in pop consciousness? Does he inspire bad behavior by pushing him too hard in front of millions? And if he feels he is a monster, what is he doing? What is the real bad habit (outside of coke boots)? None of this question was answered, or even asked effectively. “Fast tomorrow” is pseudo porridge that spoil the imaginary version of his hero. “Pink Floyd: The Wall,” this is not.

The Weeknd, when it is depicted in “fast tomorrow,” is empty. This film has the vocabulary of self -interrogation style, but there is no direct butter. One will not get the impression that this film is a true recognition or the true outpouring of guilt. It did not go further from the scene (actually pretty good) where Tesfaye lost cool when leaving a telephone message for his ex. The film whining the famous one is difficult and broken is difficult.

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We are expected to find Melancholy Weeknd entertaining. No. Also not “hurry up tomorrow.” That’s just terrible.

/Film ranking: 2 of 10

“Fast tomorrow” opened in theaters on May 16, 2025.