The temptation of music stars for their success will never grow, and the films-which need high-border attractions as they have always been ready to commit. The last of this terrain is Abel Tesfaye, the artist known as The Weeknd, whose plans over the past decade are plus, in the colors of the club and through the haunted Valssito, up and down in Hedonist.
It is one thing to revolve around the post -youthful taste of young people to the rhythm of dirty and cheerful dance, and the other to extract the topic to the length of a convincing feature, which is often shrouded on Trey Edwards Shults, often. But not because of the lack of an attempt by the visual director “Waves”, who wrote the movie with Tesfaye and Reza Fahim, and from the participating stars Jenna Ortega and Barry Keoghan, and they raised to play in the sand box in Tour-Nightmare.
The title also belongs to the latest album from Tesfaye’s, which was released this year, which the singer and songwriter in the press alluded to be a microphone drop of its kind for the mysterious week’s personality. Whether you call the movie a promotional or accompanying article-it was filmed two years ago, before recording all the album’s paths-it is still more than just a long musical video project, striving for importance, floundering in the ring.
A tight frame on the face of the childish Tesfaye and anxious appearance, an audio message for his angry girlfriend (“I used to think you are a good person!”), And superficial pumping from his manager (Keoghan Bro-Mode), told us that everything is not right for this music on the first night of the big round. Elsewhere, a young woman wanders in the state of amaze (Ortega) from homes with gasoline and set fire to it, then leads to a fuel station to fill her tray.
These tormented souls meet the night by his humble intelligence, which was seized in his heart, in the medium performance, and they are behind the scenes to close the eyes with him and ask if he was fine. (It is not so!
In cold daylight, when you collide the weaknesses against his reset – Ortega gets a great line, “You don’t look worry, you seem afraid” – the star/fans’ connection takes a violent turn. Anyone who is familiar with the HBO “The Idol” series that has participated in the creation of Tesfaye, will soon feel the worship of unwanted women’s balls in Shopbes reactionary threads.
The fantasy bacterium of the edges around the death of the ego in the isolated pop icon swims somewhere in the DNA “tomorrow”, but it was settled to a surface pseudonym stained with tears. The Chaayse Irvin is the talented photo maker, but it seems that they are voiced with the application of the trick bag from the style – different transverse ratios, multiple film stocks, 360 shots, taking the wander – to a shallow and luxurious exercise. There is always something to look at, but the little that shines.
As for Tesfaye, it is not not interested as being on the screen, but it is a fetal magnetic, in need of a richer than a group of those close to a clip. In the features of the false, false narration-not in particular Realistic sound loss He suffered on the stage a few years ago-Awazi, what the prince sought to achieve with the “purple rain” that is worn out by real life. However, this film was like bidding from the Kani to achieve success at the next level, as it compensates for its three movement through the emotional risks that led to a policewoman from the ingenuity of the genius genius addresses.
“Tomorrow” is the thinnest and atom. The door will not run out of Tesfaye’s ambitions, but as a display of conquering a large screen, it is a group of sticks that treat cinema power such as changing MidConCERT.
“Fast tomorrow”
classification: PBUH all the time, drug use, some bloody and nudity violence
Running time: 1 hour, 45 minutes
Play: In a wide launch
