Latest news with #HurryUpTomorrow
Yahoo
7 hours ago
- Business
- Yahoo
Final Destination: Bloodlines Slaughters The Box Office Competition, While Hurry Up Tomorrow Shows No Sense Of Urgency
When you buy through links on our articles, Future and its syndication partners may earn a commission. We've seen some truly wild Final Destination death scenes over the years, as the reaper comes to call on those who manage to (at least temporarily) evade tragedy. It also turns out that after 14 years without a fix, moviegoers were hungry for more. Final Destination: Bloodlines exceeded expectations with a franchise-high $51 million opening weekend domestically amid the 2025 movie calendar — a performance that was matched in international markets. It was a good weekend overall for Warner Bros., with Sinners and A Minecraft Movie still going strong, but the same can't be said for The Weeknd's Hurry Up Tomorrow, which underperformed to take sixth place. Take a look at the full Top 10 chart, as reported by The Numbers, and then we'll break it all down below. TITLE WEEKEND GROSS DOMESTIC GROSS LW THTRS 1. Final Destination: Bloodlines* $51,000,000 $51,000,000 N/A 3,523 2. Thunderbolts* $16,536,000 $155,427,643 1 3,960 3. Sinners $15,425,000 $240,796,000 2 3,518 4. A Minecraft Movie $5,870,000 $416,640,000 3 3,357 5. The Accountant 2 $4,959,111 $59,072,457 4 3,402 6. Hurry Up Tomorrow* $3,300,000 $3,300,000 N/A 2,020 7. Friendship $1,400,280 $2,043,436 13 60 8. Clown in a Cornfield $1,333,000 $6,329,779 5 2,277 9. Until Dawn $800,000 $19,623,031 8 1,706 10. The Amateur $712,000 $40,149,087 9 850 Death may come for us all, but there's plenty of life still left in the Final Destination franchise a quarter-century after Devon Sawa and his buds first disembarked their plane ahead of its fiery crash. Final Destination: Bloodlines opened to $51 million in domestic ticket sales and, strangely, $51 million internationally as well to earn a total of $102 million around the globe in its first three days in theaters. Given the fact that this film was made for just $50 million (before marketing costs), per Variety, and projected to earn about $40 million in its first three days, I'd say this is a big win for directors Zach Lipovsky and Adam Stein. Bloodlines' franchise-high opening easily beats the series' previous most successful chapter — the fourth movie, titled just The Final Destination — which opened in 2009 to $27.4 million in the U.S. and Canada before going on to earn a total of $66.5 million domestically and $187.4 million worldwide by the end of its theatrical run. With its $51 million, the 2025 horror movie has already beaten the entire North American run of its predecessor, 2011's Final Destination 5, which brought in $18 million on opening weekend and $42.6 million domestically overall ($155 million worldwide). Horror Fans Show Up For One Of Tony Todd's Final Roles There were reasons to believe Final Destination: Bloodlines would see some success. In addition to being the only movie in the franchise to be Certified Fresh on Rotten Tomatoes, our own Eric Eisenberg wrote in CinemaBlend's review of Bloodlines that this is the movie he's been waiting to see for 14 years. It's also likely that horror movie fans turned up to see one of Tony Todd's final roles. The actor — who often had foreboding warnings about death for the eventual victims as he portrayed the mysterious William Bludworth in several Final Destination movies — died in November 2024 at the age of 69. He is likely best known for his titular role in Candyman, one of the greatest horror movies of all time. It will be intriguing to see how Final Destination: Bloodlines continues to perform at the box office, with some big titles on the way. The competition will be strong, but horror fans have been feasting this year, and this latest offering is getting some great word-of-mouth advertising from stunts like its 4DX 'Death Chair' experience and how it set a morbidly impressive Guinness World Record during filming. Despite hopes of bringing in between $5 million and $7 million Friday through Sunday, Hurry Up Tomorrow earned just $3.3 million for an opening outside of the week's Top 5. The film is a companion piece to The Weeknd's new album of the same name and stars the four-time Grammy winner as a fictionalized version of himself on the verge of a breakdown. It's at that point that he gets pulled into an existential odyssey by a mysterious fan (Jenna Ortega in a seriously twisted performance). It looks like more bad news for the Wednesday star, whose March release, Death of a Unicorn, also failed to connect with audiences. Critics on Rotten Tomatoes panned Hurry Up Tomorrow to the tune of 13%; however, fans seemed to be much more in tune with The Weeknd's work, as the Popcornmeter had a rating of 70%. Meanwhile, Thunderbolts* and Sinners held strong in the second and third positions of this week's earnings, finishing approximately $1 million away from each other, according to estimates. Michael B. Jordan's vampire flick even crossed a big milestone this week, surpassing $300 million worldwide for a grand total so far of $308.7 million, where it remains at the sixth-most successful movie of the year globally, right behind Thunderbolts*. Domestically, Sinners sits in second place behind A Minecraft Movie as the top 2025 domestic offerings. They may not want to get too comfortable there, though. Next weekend sees both Mission: Impossible - The Final Reckoning and the Lilo & Stitch live-action remake hitting theaters. Will this mean the beginning of the end for Jack Black's video game-based movie? Possibly, though I can see multiple upcoming family friendly movies having simultaneous success, especially in the summer months with kids out of school. We'll have to see. Next week will also see Tim Robinson and Paul Rudd's Friendship getting its wide release. The new A24 flick managed to make an appearance on this week's chart despite being shown in just 60 theaters. As a fan of I Think You Should Leave, Detroiters and all things Paul Rudd, I'm excited to see how people respond to the gonzo levels of discomfort this movie surely brings. We'll be back next week to break down everything that happens, so be sure to check back to CinemaBlend.
Express Tribune
a day ago
- Entertainment
- Express Tribune
Jenna Ortega reflects on ‘Wednesday' fame, says she felt misunderstood and unhappy after success
Jenna Ortega has revealed that the global success of Wednesday left her feeling unhappy and overwhelmed. In a new interview with Harper's Bazaar, the actor described how fame altered her life after the first season of the Netflix series became its most-watched English-language show, amassing 252.1 million views. 'To be quite frank, after the show and trying to figure everything out, I was an unhappy person,' she said. 'After the pressure, the attention — as somebody who's quite introverted, that was so intense and so scary.' Ortega expressed frustration at being placed under scrutiny, saying, 'I feel like being a bully is very popular right now.' She said she felt 'incredibly misunderstood' as critics and fans dissected her career choices and personality online. Despite gaining creative opportunities, Ortega admitted to discomfort with aspects of her role. 'I'm doing a show I'm going to be doing for years where I play a schoolgirl. But I'm also a young woman,' she said. 'There's just something about it that's very patronizing.' The actor has since pursued more varied roles in films such as Death of a Unicorn, Hurry Up Tomorrow, and The Gallerist. 'You just don't feel like you're being taken seriously,' she added. Ortega remains thankful for the fan support. 'I want to be able to give back to them. But I also want to do things that are creatively fulfilling to me.' Wednesday Season 2 will premiere on Netflix in two parts from August 6 to September 3.
Yahoo
a day ago
- Entertainment
- Yahoo
Jenna Ortega Says ‘I Was an Unhappy Person' After ‘Wednesday' Fame and ‘There's Something Very Patronizing' About Being ‘Dressed in the Schoolgirl Costume'
Jenna Ortega said in a new interview with Harper's Bazaar that she was 'an unhappy person' in the aftermath of Netflix's 'Wednesday' becoming a global sensation and blowing up her acting career to newfound heights. The show's first season is the streamer's biggest English-language series of all time with 252.1 million views. And it's not even close, as 'Stranger Things 4' is in a distant second place with 140 million views. 'To be quite frank, after the show and trying to figure everything out, I was an unhappy person,' Ortega said. 'After the pressure, the attention — as somebody who's quite introverted, that was so intense and so scary.' More from Variety 'Hurry Up Tomorrow' Review: The Weeknd's Cinematic Apology for a Flubbed Concert Performance Should Issue Its Own The Weeknd Says Fame Can Be a 'Full-Time' Job: 'I Have No Interest in That' Jenna Ortega and Robert De Niro to Play Pool Hustlers in David O. Russell's 'Shutout' for RK Films, Black Bear Ortega became an overnight sensation despite acting since she was a child, and such popularity put a target on her back on social media as her every move and all of her next acting choices were dissected and picked apart. The actor said she felt 'incredibly misunderstood' when she reached the height of fame. 'I feel like being a bully is very popular right now,' Ortega said. 'Having been on the wrong side of the rumor mill was incredibly eye-opening.' Ortega told the publication that the overwhelming success of 'Wednesday' is a double-edged sword. There are the pros, like being able to play the cello and having new interests: 'I definitely feel like I have a bit more Gothic taste than I did when I was a teenager. I've always been into dark things or been fascinated by them, but I was a Disney kid, and the whole thing is being bubbly and kind and overly sweet.' But there are also some cons: 'I'm doing a show I'm going to be doing for years where I play a schoolgirl. But I'm also a young woman.' Ortega said she is aware that playing the character of Wednesday will limit what the industry thinks she can or can't do as an actor, which is why she quickly signed on to star in a handful of elcectic movies after the show's first season wrapped (A24's 'Death of a Unicorn,' 'Hurry Up Tomorrow' with the Weeknd, Taika Waititi's 'Klara and the Sun,' 'The Gallerist' with Natalie Portman). As a child star who is now trying to be an adult star, Ortega said 'you just don't feel like you're being taken seriously.' 'You know, it's like how you're dressed in the schoolgirl costume,' she added. 'There's just something about it that's very patronizing. Also, when you're short, people are already physically looking down on you… girls, if they don't stay as this perfect image of how they were first introduced to you, then it's 'Ah, something's wrong. She's changed. She sold her soul.' But you're watching these women at the most pivotal times in their lives; they're experimenting because that's what you do.' Ortega said she is 'very grateful' for the global fandom she has acquired because of 'Wednesday,' which is why she's trying her best to navigate a career that tailors to both her fans and her own tastes. 'I want to be able to give back to them. But I also want to do things that are creatively fulfilling to me,' she said. 'So it's finding that balance of doing movies that they might be interested in and then doing movies that I'm interested in. [I want roles that are] older and bolder and different. And then I want to be able to line up all of my girls and see something different in all of them.' 'Wednesday' Season 2 will release in two parts on Netflix starting Aug. 6 and ending Sept. 3. Read Ortega's full Harper's Bazaar cover story here. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz
Yahoo
2 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
2 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
