I’d like to start this review by making a couple of quick disclaimers, as my thoughts will vastly differ from what the majority has already said about Hurry Up Tomorrow. First, I am a fan of Abel “The Weeknd” Tesfaye and have much respect for him since I was introduced to his music nearly a decade ago. Secondly, I’ll admit that, while he’s an amazing singer and musician, his acting chops are absolutely nowhere near that same level. His performance here isn’t great, but it’s a slight step-up from his cringeworthy, abysmal work in the 2023 HBO series The Idol. As for the movie itself, Hurry Up Tomorrow is a film that explores the psyche of Tesfaye. I disagree with his and co-writer/director Trey Edward Shults's narrative choices. Yet, Hurry Up Tomorrow gave Tesfaye’s fans something decent to accompany his final album.

The narrative follows a fictionalized version of Tesfaye, an insomniac musician grappling with the pressures of stardom and personal demons. After losing his voice during a performance—a nod to a real-life incident in 2022—he embarks on a hallucinatory journey that blurs the lines between reality and delusion. Tesfaye's performance, while earnest, reveals the challenges of transitioning from music to acting. His portrayal captures his character's internal struggle, but lacks depth in conveying complex emotions. He’s stale and tends to stick to one facial expression.

Supporting him are Jenna Ortega, who portrays Anima, a mysterious fan of Tesfaye’s who guides and challenges him, and Barry Keoghan as Lee, his manipulative manager. Ortega delivers a compelling performance as Anima, embodying insane fandom and intensity. Her role is reminiscent of Annie Wilkes in Misery, although, much like the writing, her character has little depth. Keoghan's portrayal of Lee adds a layer of tension, though his character's motivations remain somewhat unclear. One moment, we see Lee caring for Tesfaye and his declining health. Five minutes later, he convinces him to go onstage and perform for thousands of screaming fans. I respect Ortega and Keoghan for being themselves and doing what they can with the material they’re given. They were far from the film’s most significant concerns.

Visually, Hurry Up Tomorrow is striking. Cinematographer Chayse Irvin employs a mix of 35mm, 16mm, and Super 8 film to create a textured, dreamlike aesthetic. 360-degree shots and unconventional editing techniques enhance the film's surreal atmosphere. Some viewers may find the cinematography’s chaotic nature unsettling, as the film starts with a photosensitivity warning for strobe lights. In fact, these elements reminded me of Shults’ debut film, Krisha. Although I didn’t love that movie, it was eerily atmospheric like this and Shults’ 2017 horror film, It Comes at Night. The score, composed by Tesfaye and Daniel Lopatin, blends atmospheric sounds with elements from the accompanying album, reinforcing the film's emotional landscape. Much of the music heard comes from the album Hurry Up Tomorrow, and the Tesfaye fan in me appreciated the songs used and when.

Aside from Tesfaye’s acting, Hurry Up Tomorrow's biggest issue is the writing. Tesfaye and Shults penned the script with Reza Fahim, and it’s evident that Shults and Fahim were throwing ideas Tesfaye had against the wall and saw if they stuck. Tesfaye has been vocal about how big of a cinephile he is, even though I’ve heard some aren’t as welcoming to him as others. His taste is not only heard in his music, but in his music videos as well. Attempts were made to translate them here in the movie, but one of Tesfaye’s idols is David Lynch (a film auteur with a head-scratching movie or two). He credited Lynch as a writer on the titular song off the album, which is sung throughout the film, and honestly, if Lynch can have his fun making weird, psychedelic films, so should Tesfaye.

Hurry Up Tomorrow is a bold, experimental film that seeks to merge music and cinema into a cohesive artistic statement. While it may falter in narrative clarity and character development, its visual style and thematic depth offer a unique cinematic experience. For fans of The Weeknd and those interested in explorations of fame's psychological toll, the film provides a thought-provoking, if imperfect, journey. For those who aren’t either, it’s a confusing rollercoaster that can’t finish faster. I don’t blame casual moviegoers and cinephiles unfamiliar with The Weeknd for not liking Hurry Up Tomorrow. Still, I enjoyed it to an extent, and that’s all that matters to me.