Latest news with #AbelTesfaye
Yahoo
4 days ago
- Entertainment
- Yahoo
‘Hurry Up Tomorrow' Review: The Weeknd's Emotionally Threadbare Vanity Project Is All Skips, No Repeats
A man of many faces, from the digital mask of anonymity on his mixtape breakout 'House of Balloons' to the plastic surgery prosthetics circa 'After Hours,' Abel Tesfaye has announced he'll soon retire the one that made him famous, with his latest album 'Hurry Up Tomorrow' his last under The Weeknd moniker. The lyrics situate him at a clear turning point, professionally and personally; the title track, with the usual synths traded for singer/songwriter piano and the plainly stated confession that 'I want to change, I want the pain,' signals a transformation for an artist who's struggled against himself from the jump. The Weeknd discography plays like one big party with noxious vibes, thrown by a hedonist less interested in a good time than numbing the torment of an existence comprising coke-and-sizzurp binges, emotionless supermodel threeways, and morning-afters of bleak reflection. Tesfaye is now 35, an age at which a lot of people decide it's high time to get their shit together, and 'Hurry Up Tomorrow' (the song, that is) makes a resolution for lasting, meaningful growth through penance and redemption. To presume that this heralds a newfound maturity for the man who not so long ago pulled a 'triggered much??' on Rolling Stone would be a mistake, however. More from IndieWire Ari Aster's 'Eddington' Sharply Divides Cannes: Star Pedro Pascal Defends a Western About 'Our Worst Fears' Amid Lockdown 'Nouvelle Vague' Teaser: Richard Linklater Brings the French New Wave Back to Life The non-album plank of this grander creative project, a feature film also titled 'Hurry Up Tomorrow,' reiterates this career narrative by mapping it onto autofiction at greater length and with bludgeoning obviousness. A viewer may find themselves appreciating how the non-visual element of music allows figurative language to retain some wisp of mystery, whereas onscreen it's made to wear its significance in blatant, artless ways. A tortured genius wrestling with their demons, breaking themselves down to nothing, and building themselves back up in a nobler image — these are fine building blocks for drama. 'Hurry Up Tomorrow' (again, the song) works well enough along these lines. But when we're made to watch Tesfaye sing it in its entirety in an unbroken close-up while crying at the beauty of his own music, the introspection turns to simple self-involvement. It would appear he's trading drugs and alcohol for a form of indulgence less materially harmful to himself, but more so to us. Tesfaye has found a felicitous collaborator in director Trey Edward Shults, 'Hurry Up Tomorrow' (the movie, from here on out) being largely a composite of their past work: the furtive ingesting and narcotized intensity of Shults' debut 'Krisha,' the rage-to-contrition arc and whirling cinematography of his polarizing 'Waves,' the volatile maestro/muse dynamic of Tesfaye's even-more-polarizing HBO series 'The Idol.' The threadbare plot is set in motion when Tesfaye's screen-self (henceforth referred to as Abel) loses his voice while touring, a real-life incident forced here into heavy-handed metaphor as an existential ailment symptomatic of his deeper issues with himself and women. (Tellingly, Riley Keough plays both his absent mother and the ex-girlfriend he keeps screaming at on the phone.) Just as his deteriorating health and pressure from his pal-turned-manager (Barry Keoghan) push him to the verge of collapse, he finds hope of salvation in the same place as many misogynists, with a woman who has not yet started to annoy him. Brief eye contact and about a dozen words are all Abel and the enigmatic Anima (Jenna Ortega) need to establish a connection closer than garden-variety groupie-ism. Until, of course, the morning after, when she starts up with her talk about joining him on tour and inserting herself into his life. The ensuing conflict between them takes an abrupt turn into a hotel-room two-hander as Anima fastens Abel to a bed and coerces him into confronting his feelings by playing his own music to him and dispensing shallow insights about how his songs' upbeat melodies belie their cry-for-help content. While her wiggly dancing and superficial pop-crit commentary nod to 'American Psycho,' this final stretch reckoning with Abel's toxicity and death drives could be compared unfavorably to anything from early Almodóvar to 'Phantom Thread,' dulling the provocative edges on a long and august tradition of psychosexual pas de deux. Neither its methods nor conclusions feel subversive; the conceptual thinness of the specter-like Anima and the role she plays in Abel's evolution both amend his admission of guilt with the concession that women are indeed exacting, unreliable, and/or psychotic. If all this — or the brief dream sequence visited by an Inuit child, or the drug-fueled freakout in front of a projection of Lotte Reiniger's proto-animation landmark 'The Adventures of Prince Achmed' — piques curiosity on paper, that's only because reading a review of a film doesn't occupy nearly as much time as watching it. The minutes drag, and not just when Shults holds on interminable long takes giving actors in need of guardrails far too much room to fail. Tesfaye and Ortega model two opposing modes of imitative, hollow performance, like a bad actor's varying notions of good acting. A devout student of the European classics (she took this role in part for a 'Possession' homage sequence all but excised in the final cut), Ortega knows that great thespians are stoic and inexpressive, but doesn't understand how or why. Constantly pumping himself up with shadowboxing and yelling at women, Tesfaye is doing De Niro in 'Raging Bull,' just without the Method behind his mannerisms. Meanwhile, the avant-garde-101 padding makes lemons from the flights of expressionistic fancy in 'Lemonade,' while the musical sequences clarify that this is no mere album accessory by being repetitive, unimaginative, and scant. The thing about vanity projects this narcissistic is at the very least, even in calamity, they're supposed to be interesting. Tesfaye has the makings of a fascinating yet flawed figure, equal parts egotistical and insecure, self-aggrandizing and self-effacing, at once a mad king and wounded child. Since the days of sampling Cocteau Twins, Siouxsie and the Banshees, and Beach House, he's been forthcoming about his eclectic, well-curated tastes. But for a personal statement uncompromised by commercial purpose, it's bland and indistinct, and for a howl from the depths of a soul in agony, there's very little at risk in its vague baring of sin or broad overtures to rebirth. One yearns for idiosyncrasy, a stroke of the unknowable, some transmission from a plane of inspiration inaccessible to ordinary mortals. If the unbearable weight of massive talent is really so crazy-making, that unwieldy creativity should be set free, however messy. Or, if I can just say what I mean: making audiences feel nostalgic about Kanye West? In this cultural economy? Lionsgate will release 'Hurry Up Tomorrow' in theaters on Friday, May 16. Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
National Post
4 days ago
- Business
- National Post
Abel 'The Weeknd' Tesfaye's creative juice is coffee
Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content The Weeknd, who is transitioning his stage name to his given name, Abel Tesfaye, is a proud Canadian of Ethiopian descent. Article content Born in Toronto into an Ethiopian home, Tesfaye says both identities 'keep me grounded.' I can see why that is necessary, as the superstar has quite the resume, including four Grammy Awards, nominations for an Academy Award and an Emmy Award and the title of the first Canadian solo artist to headline the Super Bowl halftime show. Article content Tesfaye added 'coffee entrepreneur' to his CV in 2023 by starting the brand SAMRA ORIGINS, named after his mom, Samra. He was inspired by the Ethiopian coffee ritual, which is centred on community and bringing family and friends together. The collaboration between Samra Origins and Nespresso brings 'rich, bold flavours that take you beyond the cup.' Article content Article content Beyond the cup, Tefsaye is on his Hurry Up Tomorrow tour across Canada and the U.S. and just released a film of the same name (check out his Hurry Up Tomorrow album). The tour, not unlike the ethos of SAMRA ORIGINS, is about 'connecting between humans, conveying artistic self-discovery and healing alongside the chaos of it all,' says Tesfaye. Article content Article content What else is on the very busy schedule of the Canadian megastar? 'You and I both will see in time,' says Tesfaye. Learn more from Tesfaye from our exclusive interview below. Article content
Forbes
5 days ago
- Business
- Forbes
The Weeknd's Catalog Benefits From His Movie, Even As It Underperforms
The Weeknd's Hurry Up Tomorrow album — as well as Starboy, After Hours, Beauty Behind the ... More Madness, and House of Balloons — climb the Billboard charts as the movie flops. SAO PAULO, BRAZIL - SEPTEMBER 7: Abel 'The Weeknd' Tesfaye performs on stage during the 'After Hours Til Dawn Tour' at MorumBIS on September 7, 2024 in Sao Paulo, Brazil. (Photo by) When it comes to The Weeknd's career at the moment, everything is pointing toward Hurry Up Tomorrow. His album by that name was released in January and has been rising and falling on the charts, churning out hit singles ever since. The movie of the same name, built around the music featured on the full-length, hasn't been quite as warmly welcomed. The title has proved to be a disappointment at the box office globally, though it's not quite done with its theatrical run just yet. The Weeknd's promotional might around the feature has helped the music, and as Hurry Up Tomorrow rises on the charts in the United States, several of his other collections are benefiting as well. Even as his movie fails, his music soars. Five of The Weeknd's albums appear on the Billboard charts this week. They're all climbing, and manage to find space on multiple rankings. The excitement generated by Hurry Up Tomorrow — the movie — seems to be having a positive effect on his past musical collections, even though it didn't generate the drive to visit cinemas that he was hoping for. Of course, Hurry Up Tomorrow the album is The Weeknd's top performer this frame. It rises on four lists, while also returning to the No. 3 spot on the Vinyl Albums ranking and at the same time holding in that position on the Top R&B Albums chart. Hurry Up Tomorrow lives inside the top 10 on all but one list, as it ascends to No. 20 on the Top Streaming Albums roster. The multi-genre project rises farthest on the Top Album Sales tally, jumping from No. 35 to No. 4. That growth is thanks not just to all of the marketing and promotion around The Weeknd's new movie, but also a physical re-release of the set. Starboy, After Hours, Beauty Behind the Madness, and House of Balloons all manage to appear on both the Billboard 200 and the Top R&B Albums chart this week. Each of those blockbuster releases climb — except for Starboy, which lifts on the Billboard 200 and holds steady on the Top R&B Albums ranking, keeping put at No. 8. All of those titles except for House of Balloons also find space on the Top R&B/Hip-Hop Albums roster. Meanwhile, eight different tunes by The Weeknd appear on at least two Billboard songs tallies apiece.
Forbes
6 days ago
- Entertainment
- Forbes
The Weeknd And Jenna Ortega's ‘Hurry Up Tomorrow' Gets Streaming Date
Jenna Ortega and Abel "The Weeknd" Tesfaye in "Hurry Up Tomorrow." Hurry Up Tomorrow — a psychological thriller starring Abel 'The Weeknd' Tesfaye and Jenna Ortega — is reportedly coming soon to digital streaming. Rated R, Hurry Up Tomorrow opened in theaters on May 16. The logline for Hurry Up Tomorrow reads, 'A musician plagued by insomnia is pulled into an odyssey with a stranger who begins to unravel the very core of his existence.' Tesfaye stars as Abel — a fictionalized version of himself — while Ortega plays the stranger, Anima. Barry Keoghan also stars in the Hurry Up Tomorrow as Abel's manager, Lee. Hurry Up Tomorrow is directed by Trey Edward Shults from a screenplay by Reza Fahim, Shults and Tesfaye. Hurry Up Tomorrow is expected to arrive on digital streaming via premium video on demand on Friday, June 6, according to When to Stream. While When to Stream is typically accurate with its PVOD reports, the streaming tracker noted that Hurry Up Tomorrow's distributor, Lionsgate, has not announced or confirmed the release date and it is subject to change. When Hurry Up Tomorrow arrives on PVOD, it will be available on a variety of digital platforms, including Apple TV, Fandango at Home, Prime Video and YouTube. Prime Video has Hurry Up Tomorrow listed for pre-order for $24.99, which is also the film's purchase price. Since digital rentals are typically $5 less than purchase prices, viewers can expect to rent Hurry Up Tomorrow for $19.99 for a 48-hour period. Hurry Up Tomorrow is part of a three-pronged project from The Weeknd, which also involves the artist's new album and tour. The film to date has earned $4.9 million from North American theaters and $500,000 internationally for a worldwide box office tally of $5.4 million against a $15 million budget before prints and advertising, per The Numbers. Hurry Up Tomorrow had a harsh reception by Rotten Tomatoes critics, who collectively gave the film a 15% 'rotten' rating based on 73 reviews. The RT Critics Consensus for Hurry Up Tomorrow reads, 'On second thought, let's fast-forward to the workweek.' The film was better received by RT users, who gave the film a 65% 'fresh' Popcornmeter score based on 500-plus verified user ratings. The RT audience summary for the film reads, 'Cashing in narrative chips for intriguing and moody visual currency, Hurry Up Tomorrow will deeply engage The Weeknd's fans.' Hurry Up Tomorrow is expected to arrive on PVOD on June 6.
ABC News
21-05-2025
- Entertainment
- ABC News
The Weeknd's new film Hurry Up Tomorrow is a bizarre vanity project, and completely compelling
Brand management is everything for a pop star. Give the people what they want — the carefully curated relatability of, say, Taylor Swift — and your public will adore you en masse. Let the dark side of your persona out of the cage and you risk alienating the audience that brought you to fame. Fast Facts about Hurry Up, Tomorrow What: Haunted by heartbreak and anxiety on his current tour, pop superstar The Weeknd is about to meet his match — and possibly his destiny — in the shape of a deranged fan. Starring: Abel Tesfaye, Jenna Ortega, Barry Keoghan, Riley Keough, Metro Boomin Director: Trey Edward Shults When: In cinemas now Likely to make you feel: The horror of fame and obsession While Canadian R&B artist The Weeknd, aka Abel Tesfaye, remains one of the biggest stars on the planet, his media image has taken a hit in recent years. For that he can thank the controversy, however overblown, surrounding his ill-fated HBO venture The Idol (2022) — an unpleasant, vaguely misogynist descent into pop's underworld in which the singer played a warped-mirror version of himself. If that weren't enough, Tesfaye's latest project seems hell-bent on not only killing The Weeknd off once and for all, but in taking whatever's left of his audience's goodwill down with it. A companion piece to his recent album of the same name, Hurry Up Tomorrow is one of the ugliest self-portraits in the history of pop star movies, alternately self-loathing and self-pitying, solipsistic and grimly exhilarating. If you're a scholar of pop stardom, it's also essential — a wild ride into the distorted world view of an artist at the dizzying heights of fame. It opens in extreme, abstract close-up, with the voice of a distraught ex-lover (Riley Keough) unloading on the star. "You're pathetic," she seethes. "You deserve to end up alone." We're soon with Tesfaye backstage, the star doing weights and vocal warm-ups as he pumps himself up for a performance, his sweaty, pug-like manager (Barry Keoghan) goading him on at every turn. It's obvious something's not right, even beyond the romantic dissolution. The singer is wracked with anxiety, paranoia and a fear of losing his voice, and that's before he starts doing bumps of coke and slugging hard liquor straight from the bottle. But on stage, he's magnetic: an occult priest in black-and-gold robe, arms outstretched as the demonic, 'Thriller'-like keyboards of 'Wake Me Up' electrify the sold-out crowd. Meanwhile, tearaway teen Anima (Ortega) is busy torching an ex's farmhouse, eyes burning with the intensity of the flames. It seems less a case of whether these two dark forces of dark nature will meet, but when. Their fateful tryst soon becomes Tesfaye's nightmare — and just maybe, deliverance from the prison of his own making. Haters will call the film, directed by Trey Edward Shults (It Comes At Night) from a script co-written with Tesfaye, an extended music video and a vanity project, an expensive piece of on-screen therapy that mistakes vulnerability for brazen marketing opportunity. All of those things are true, of course, and they all contribute to what makes the film so fascinating — to dismiss them is to dismiss the audacity, or sheer delusion, of a major pop artist willing to get so wretched, so messy, and so near the peak of their super-stardom. "I'm a f***ing legend and you're a nobody," a coked-up Tesfaye screams over the phone to his ex in one moment, before smashing a backstage mirror en route to a stadium-sized meltdown. In the tradition of pop stars playing thinly disguised versions of themselves on screen — a lineage that includes everyone from The Beatles to Eminem — it sure is a strange way to go about immortalising yourself. Tesfaye is clearly a student of the genre. In the most obvious sense, Hurry Up Tomorrow is a shot at his very own Purple Rain, the 1984 hit that minted Prince's super-stardom while hinting at that gruesome psyche behind the glamour. But where Prince's cinema-a-clef offered an exuberant sense of catharsis, The Weeknd's tale of obsessive fandom and karmic consequence seems to be channelling Der Fan, a 1982 German thriller about a deranged stan who — spoiler, I guess? — kidnaps and literally devours the object of her disaffection. In Hurry Up Tomorrow, it's Ortega's Anima who becomes the stalker, the catalyst for the superstar's breakdown. The movie's portrayal of pop stardom as an empty life of drugs and groupies is as dull as it is sexist, but there's something compelling about the idea that two people who destroy everything they touch might just have a shot at redeeming each other. Certainly, this may be the first movie in which a major pop star is so thoroughly taunted and tortured with their own hits, as happens in a scene where Ortega goes full Patrick Bateman on the Weeknd's back catalogue. Dancing to 'Blinding Lights' while her victim squirms, she declares it "an enduring hit". On 'Gasoline', from the singer's less-remembered 2022 album: "I don't want to call it a failure — but what happened?" To be sure, all of this dour self-deprecation is part of the package for Tesfaye. The film — which essentially doubles down on the nastier concerns of his music — might reasonably be dismissed as a brand-extension exercise no different to those of his sunnier peers. Pop is performance, after all, and psychosis is just another angle to push your product. As a document of stardom's raging paranoia, though — and the Devil's bargain that pop music makes with artists and their audience — it's hard not to be transfixed. Terrorising Tesfaye during the movie's troubling climax, Anima accuses him of breaking hearts and discarding people in order to fuel his art. "How much did you take from them," she snarls, "just to make another pop song?" Hurry Up, Tomorrow might be intended as Tesfaye's rebirth, or even his absolution, but it only serves to complicate his brilliant, sometimes infuriating artistry.
