“Hurry Up Tomorrow” is The Weeknd’s egomaniacal cinematic disaster

Depending on who you ask, Abel Tesfaye – known in his name, his theatrical name, The Weeknd Either a poetic genius or a drug addicted to the drug. Thanks to this, this duality is to do tesfaye. He has spent the best part of the past decade intentionally in the absence of lines between his musical personality and his realistic nature. Once the R&B singer matches a smoothly with the voice of Nubati for the child, his increasing popularity has seen his art becomes great, and more wins. Emotions were buried under the magical journey of Home, then stuffed behind the indisputable cold from the sparkling eighties. Music became a pop star, and suddenly, it was difficult for people to see where Tesfaye ended and started weeknd.

If the new Tesfaye, “Hurry Up Tomorrow” is supposed to believe, then the singer fights the same degree of reconciling this repulsion as his lover fans were. The film, directed by Trey Edwards Shults, is an imaginary Odysse through a copy of The Weeknd, which suffers from a tunnel of insomnia during a global tour, causing his mind to back down. Along the way, a little girl named Anima (Gina OrtegaIt is pulled to the Tesfaye orbit, and the chronic separation of the singer threatens the singer.

With the help of an Oscar candidate Barry Kyogan Since Tesfaye Lee’s manager, “Hurry Up Tomorrow” feels a movie, a wonderful study on pop stardom with big names to support them. But even with his impressive ambition, the film is quickly lost in its legend-if you can even call the movie “Tomorrow” a movie at all. What appears to be designed to be a glimpse of length in the world famous music functions like more than just an extended music video, very scattered in dialogue and conspiracy to be a cinematic experience correctly. And when it seems as if things reach somewhere, when it seems as if there was a nucleus of meditation, it is raised from the movie, “Hurry Up Tomorrow” crawls his great conclusion with all of the accuracy of the bop written song badly.

It is not as if the vast dispute Weeknd is not mature to treat the movie. The sprawling character of the cinematic parties of his songs is what makes “Hurry Up Tomorrow” such an interesting project. Something like “Blind lights“He will feel at home on the silver screen, and is used to record a chase of the sparkling car in the streets of Miami on a incendiary summer night. When SHULTS, who, along with the film, uses, he participates in writing and editing it, using some unstable tools in the movie.

But all this flash is less than the essence when there is not much narration to support it. “Tomorrow”, after all, is 106 minutes long. This is not just a concert movie (although SHULTS has taken footage in Tesfaye shows) or a theatrical event for only one night like Miley Cyrus The video of her upcoming album, or Fergie is the lowest, but “Double Dutchess: SEAIN DOUBLE”, a full -length feature film. Although I believe a firm belief should be the masses that should be less than repetition to loot the speed, there is a lack of pride in the interpretation of the context of images that pass through the screen. We watch while the gasoline is pouring around all over the snowy flow in the mountains and lights up on it before driving. The screaming of the semi -imaginary week and screaming on his phone, looked at the pictures in his camera roll and listening to the voice mail from his ex -wife (random Riley Qio Sound veil only). He plays a large party of four bumps from cocaine, dead behind the eyes. Although some of these sequences are visually arrested, they offer informal viewers, the person who is not a fan of Dihard Weeknd, little or no insight in this world. One of the Tesfaye music lovers is unlikely to get anything more than this than one of his albums would be from top to bottom.

Gina Ortega is like “Hurry Up Tomorrow” (Andrew Cooper). Things become quieter when the movie deals with its desire to keep viewers along the arm. “Hurry Up Tomorrow” is, by all standards, an extension of the Tesfaye character built through his music. The Weeknd is technically the ego Tesfaye. As his career grows, he tended further in the work of the characters, giving futility a week Artificial face Package of blood bandages. This subjective shade is Boozer, loser and user, feminine obsessed with unlawful work ethics. SHULTS is trying to detonate this character until new heights, but it only fills it with hot air. There is not much what can be said here is not already said in Weeknd music. Unfortunately, when Tesfaye behaves outside the boundaries of the video clip, its slides are somewhat complete and funny.

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In his first role, the correct acting, Sam Levinson HBO showed the exhibition in a critical way.idolTesfaye ascended to a more harmful version of the character he plays in his music. He played Tedros, which is the wisdom music industry that also coincides with a false snake of culture that is attracted to the bright fame of Laila Rose Deeb Pop star, Jocelyn. In a way, in the end it was a more effective portrayal of the industry tag than “Hurry tomorrow”. SMARM was directed to 11, and although his dramatic abilities were not much better on HBO, it was at least the cover of other moving parts to soften the strike to the Tesfaye. Here, he reads as if Tesfaye is still loaded with that experience, hoping to play the role of the alternative who used to act in writing his songs will transfer his intentions honestly.

Gina Ortega in the role of Anima and Tesvay as a fictional version of himself in “Hurry Up Tomorrow” (Andrew Cooper), But there is a fundamental level of narcissism for that desire to separate the movie fans from its star. We are not watching a movie as much as we promise someone working through insecurity. Although this could be a convincing study of pop stardom, “Hurry Up Tomorrow” lacks the desire to study any perspective outside Tesfaye. To perform a successful cinematic analysis of pop disease, the topic must be considered as a gear in the device, even if it depends on a real person who ultimately enjoys more self -judgment in real life. This is what made Brady Corbet “Fox Lux– Which should be considered a prominent examination of the contemporary pop star – so it has seen fame as the fauste agreement with Satan. Without any insight into the reason for the reasoning of the Tesfay The Weeknd, the film has become without teeth and more inactive.

When Anima and The Weeknd finally meet, things take a brief turn for surrealism. It is the closest that the film gets at all to say anything, but the sequence of an extended dream is just gestures in meaning. The two call during one romantic night, just to the dreams of Anima, the next morning. When she tries to get to Weeknd to talk to her like someone, she connects him to the bed and forces him to listen to his songs – which is funnyly funny to do for the music that comes out of all tension from the scene. Anima enlarged all the depth and hidden pain below the pop, but it is impossible to know what Tesfaye and Shults are trying to get here. Is Anima to mean that most of the prevailing fans do not understand that the columns are tucked under that sparkling desired? Or is it supposed to appear distorted reading so far in a song made by the changing ego? “How much I took from it [these women] Just to write another pop song? “She asks.

This is a question left without an answer. Viewers do not get a real glimpse of that where weeknd ends and Tesfaye begins, however, we are expected to take care of what is happening to him in the movie. If you take Tesfaye in his speech, “Hurry Up Tomorrow” – both the film and the accompanying album released in January – will be his last work in Weeknd. “I said all I can say,” it is He said W magazine in 2023. When Anima begins to pour gasoline around the star, it seems that the film may end up with a large punch, which may make it easier to overlook many defects. But instead, The Weeknd sings to Anima, and persuades her to put her lighter, as if she was saying that Abel Tesfaye was present to the side of the week all the time. This message may have some echo if nothing was not the average medium listener to know themselves, especially given the last Tesfaye taste of the drama. For a person whose career was built at the end of some time, this end is a cowardly step. If this is in the week as we know it, then a good irony.