Trey's new film Edward Schults "Hust Up Tomorrow" is part of the huge multimedia project that Trip-Hop Chanteuse Abel "The Weeknd" has been building since January 2025, when she released a concept album of the same name. The film seems to be a sporting narrative extrapolated from the album of co-scriptures Schults, Tesfaj and Reza Fahim, though it clearly aims to be a dreaming, hallucinatory opera on a variety of, telling its story through deleted emotion. And on the surface, there are certainly many emotional outings. There are tears, screams and nightmares. Stylistic, there seems to be an attempt to look at the inner darkness of the weekend beak.

Ad

But all the dreaming electronics of the soundtrack cannot cover the fact that "hurry up tomorrow" is a dull, average, smeared stupidity. It's bad, guys. Indeed, really bad. The film does not capture as the complex soul at the weekend as it gives a megaphone to the sad Whiner. Tesfay is trying to put his image on the screen as a troubled, Stradan artist, lost in (perhaps self-level) weakness post-breaking, but he never describes the circumstances of the breakup, or why his former was so angry at him. Riley Ceug, seen only on pictures and heard by phone, plays as a former girlfriend, and she is only credited with "Voicemailed Girl". Schults and Tesfaj did not make a complex drama about the relationship passed, but an abstract examination of adolescence self -pity. The girl is an abstract figure that exists only to allow the main character to break into the pathos. The same can be said about Anima (ENENA Ortega), a young woman whose eye catches him at a concert and who can provide her emotional salvation.

Ad

And, yes, the character bears the name "Anima", which will make all Jung students roll their eyes. And it is one of the more subtle pieces of symbolism in this self -satisfied chaos.

Schults had previously made several intriguing films like a horror film with slow loss "Coming During the Night", and the dreamed morality plays "waves". Here, he seems under the gun, trying to set some depth of an artist who is desperate to appear more tormented and complex than maybe. Schults includes many abstract extreme circles, shift rates, and even artificially inserted film scratches to capture the old 35mm feeling. In a nightmare sequence, Schults enters his inner David Lynch, showing a mother figure on a field fire, warming up a nearby child. Did I mention that the symbolism is not subtle?

Ad

None of that, however, can erase how frustrating is emotionally vague "rush tomorrow". The film begins with the above -mentioned girl on voicemail of Tesfaj (he plays himself) that "a good person would not do it to someone they love." What did he do? It's never explained. If Tesfaj played his wicked manipulator Tedros from Short -term shame "Idol", Then such a message would make sense, but here, we are left to wonder what he did to guarantee such a reaction. We don't know if he's wrong. The whole audience has been made as if he is suffering.

And, boy Haudi, is it ever fun. The breakup came in the middle of a weekend's world tour, and he could go hysterically dumb, like Liv Ulman's character in "Persona". A musician loses his voice. Take a look at my above comments about the symbolism of the film, in terms of its subtlety. The doctor seriously warns that everything is psychological and that he risks damaging his throat permanently if he cannot work through his pain. The only character with any child of toe in reality is the manager of Tesfaj Lee (Wonderfully naughty berry keogan), thrilled Coca Gremlin who uses serious compliments and a few snowy snow to get his indictment on stage.

Ad

Just as the weekend voice breaks down on stage, he locks his eyes with the desperate young Anima. They seem to be immediately in the Loveube, and occupy a fast -paced contraband on the island of Connie (played by Pierre Santa Monica). This is likely to be dangerous to our hero, however, as Anima was introduced tears of soaking a remote earth in gasoline and illuminated it on fire. Later in the film, Anima will receive a hysterical call from her mother (also iousubopitic, expressed by Riley Keu), wondering why she did. Anima has no answer.

Ad

The trail is terrible, by the way. By the time Tesfaj and Anima have their small roller date, we're almost an hour in the movie. Nothing happens, but at least we have to wait. The evening looks nice, but it's just a matter of time before this manic pixie nightmare is attached.

Anima then hastily pushes "Hurry up tomorrow" on the territory of "misery", showing what happens when a little shooting superfan meets her hero in a vulnerable position. Both in Hust Up Tomorrow and Misery, the celebrity will end up tied to bed while their fan is tormented and interrogated. "Hurry up tomorrow" is not so striking, as superfan's torture involves an essay analysis of the true art of weekend. Many will also think The Hui Lewis sequence in "American Psycho", whereby the killer essentially reads his review. Tesfaj essentially organizes the worst press interview in the world. Torture scenes are not intended to be funny, but many people in my theater - including I - still laughed.

Ad

Ortega is trying to give darkness to the role, but her wild eyes and illogical behavior appear as Tim Burton's semi-comedial character. The biggest relief of the film (and the biggest laughter) comes when Tesfaj finally shakes the exit of the chewing, foggy reverses to say to close the f ***.

Ad

But the question remains: How does Tesfaj feel about his job? Does he declare that he only appeals to tears, deceived arson who tie the victims of beds? Does he feel that he is emotionally irresponsible with floating songs in pop -awareness? Does he inspire bad behavior by pushing too much before millions? And if he feels he is a monster, what did he do? What are his real bad habits (over coca boots)? None of these questions have been answered or even efficiently asked. "Hurry up tomorrow" is a pseudo-emotional porridge that deals with an imaginary version of her hero. "Pink Floyd: Theid", this is not.

The weekend, as shown in "Hurry tomorrow", is empty. The film has a stylish self-interact vocabulary, but none of the immediate cruelty. No one will get the impression that the film is a real recognition or the original outflow of guilt. It does not go beyond (actually a pretty good) scene in which Tesfaj loses his cult while leaving a phone message for his former. The movie whine to be known is difficult and that breakup is difficult to do.

Ad

We are expected to find the melancholy of The Weeknd. Is not. Nor "hurry up tomorrow". It's just terrible.

/Movie rating: 2 of 10

"Hurry up tomorrow" opens in theaters on 16.05.2025.