I join CTV Atlantic anchor Todd Battis to talk about the drama “Sharper Corner,” the gleefully gory “Final Destination: Bloodlines,” the cringe comedy “Friendship” and the musical drama “Hurry Up Tomorrow.”
Watch the whole thing HERE!
I join “CTV News Toronto at Five” with guest anchor Sean Leathong to talk about new movies in theatres including the gleefully gory “Final Destination: Bloodlines,” the cringe comedy “Friendship” and the musical drama “Hurry Up Tomorrow.”
Watch the whole thing HERE! (Starts at 16:12)
I sit in with CKTB morning show host Steph Vivier to have a look at movies in theatres including the cringe comedy “Friendship,” the gleefully gory “Final Destination: Bloodlines,” the musical drama “Hurry Up Tomorrow” and the comedy “Please, After You.”
Listen to the whole thing HERE!
I joined CP24 Breakfast to have a look at new movies coming to theatres, including the cringe comedy “Friendship,” the musical drama “Hurry Up Tomorrow” and the Apple TV+ series “Murderbot.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the cringe comedy “Friendship,” the gleefully gory “Final Destination: Bloodlines,” the musical drama “Hurry Up Tomorrow” and the comedy “Please, After You.”
Listen to the whole thing HERE!
SYNOPSIS: Based on The Weeknd’s sixth studio album of the same name, in “Hurry Up Tomorrow,” a new psychological thriller now playing in theatres, an insomnia plagued musician (Abel Tesfaye) is drawn into a surreal journey by an enigmatic woman (Jenna Ortega) who leads him to the edge of madness.
CAST: Jenna Ortega, Barry Keoghan, Abel Tesfaye (The Weeknd). Directed by Trey Edward Shults.
REVIEW: What do you get when you mix and match state-of-the-art, moody hook-driven pop music with a riff of Kathy Bates in “Misery,” a hint of tortured artist syndrome and trippy, experimental visuals? You get “Hurry Up Tomorrow,” a movie so self-indulgent it plays like a parody of a vanity project.
“Hurry Up Tomorrow” explores the darker side of pop stardom, inspired by The Weeknd losing his voice during a 2022 concert due to psychological stress. The four-time Grammy award winner funnels that harrowing experience into a strange film about a famous singer trapped in a world where the line between reality and fantasy is blurred.
A trip into the character’s emotional state, “Hurry Up Tomorrow” is more of a vibe than narrative. In its study of fame, and the isolating effects of being adored by fans, it’s a journey that is equal parts fan service and self-absorption.
Episodic in nature, the movie unfolds in vignettes, each set to a bangin’ soundtrack courtesy of The Weeknd’s album. The music doesn’t drive the story as much as it creates a tone, acting as a backdrop for the evocative imagery shot by cinematographer Chayse Irvin on 35mm, 16mm, and Super 8 film.
It’s a cool looking film, but its themes, although specific to The Weeknd’s experience, feel reminiscent of other movies. The well-worn take on the destructive power of fame has echoes of everything from “Sunset Boulevard” to “A Star is Born. The feeling of disconnection from real life that comes with widespread recognition was eloquently essayed in “Rocketman” and “Birdman,” and the exploitation of women by musicians on the road was covered in “Performance” and “Almost Famous.”
Despite committed performances from “Wednesday’s” Jenna Ortega and “Saltburn” star Barry Keoghan, the focus on style over substance, with no attempt to add anything new to the conversation on fame, allows “Hurry Up Tomorrow” to get lost on its search for profundity. It mistakes long gaps in the dialogue for depth when, in fact, those pauses give the film a listless quality that sucks the energy out of the filmmaking.
There’s a scene in the middle of “Hurry Up Tomorrow” where Able (Tesfaye) and Anima (Ortega) play table hockey that may be representative of the whole movie. Table hockey is a board game masquerading as Canada‘s favourite sport just as “Hurry Up Tomorrow” is a music video masquerading as a film. In short, it’s got a good beat, and you can dance to it (as Ortega memorably does), but feels like an ad for the record.
