Starring: The Weekend, Jenna Ortega, Barry Keoghan, Riley Keogh

Directed By: trey Edward Schultz

Studio: Lionsgate

Release Year: 2025

Runtime: 105 minutes

Audio Description Provided By: Deluxe

Written By:

Narrated By: Julian Smith

What Is It?: An artist struggles to get over performance anxiety and insomnia. The artist is The Weekend, playing himself. When a young woman enters his life, seemingly as a temporary fix, she may be more than he bargained for.

What Works: There was about five minutes of this that was a conversation between Jenna Ortega and The Weekend, and I didn’t hate it.

What Doesn’t Work: the other 100 minutes. The Weekend is clearly chasing his Purple Rain, but he has totally missed the boat. This is so boldly, nay, audaciously incoherent that it parades itself as artistic. And why not? the director of this is responsible for two A24 releases, It Comes At Night and Waves. This is an example of a film that has A24 vibes, and has no idea what that means, or how it got there. It interprets that as being a completely jumbled film that seems ready to collapse upon itself. I can see what the weekend is trying to say, as I’ve performed on a stage and work with others still who do, and stage fright, impostor syndrome, exhaustion, and ideas that are clearly swinging in his head are meant to be painted on this canvas.

It isn’t a visual album, but The Weekend clearly wants this to feel like an extension of him. the Weekend isn’t versed well enough in this area to know the difference between a narrative feature, a visual album, a music video, and then whatever new circle of hell this has created. It’s an amalgamation of everything, ultimately becoming nothing. Ortega has some brief flirtations with a nice performance, before she becomes Annie Wilkes for all intents and purposes.

I’m surprised this got an actual theatrical release, as if putting this on a big screen would somehow fix its problems. In an era where we’re trying to figure out how to get people to go to theaters, baiting them with hot garbage is not the way to go.

The Audio Description: There really isn’t a lot of dialogue, and the film is trying to be artistic by going mostly visual, so there’s a lot of room for description. And, like it seems all the time, this is a terrific track. Not only does it make up for the lack of dialogue, but the characters also are on their phones quite a bit. Naturally, this film would be lost on a blind audience without audio description. And if I’m being dead honest, the film likely is scoring slightly higher because the track was that good. when the audio description track is the best thing about the film, it stands to reason every film should have one, just in case you are Hurry Up tomorrow.

you Might like it if: You are the Weekend.

You Might Not Like It if: You are anyone who is not The Weekend. I’m sure even Jenna Ortega is ashamed of this.

final Thoughts: the only thing in Hurry Up Tomorrow that needs to move faster is the end of the film, because it can’t come soon enough.

Rotten: 2.2/10