Abel Tesfaye's venture into acting has hit another roadblock. The Weeknd's psychological thriller Hurry Up Tomorrow debuted to a lackluster 3.3 million domestically and 3 million overseas, landing in sixth place during its opening weekend. Produced on a $15 million budget and distributed by Lionsgate, the film fell short of projections despite Tesfaye's massive fanbase and a 2,020-theater release.
Critical and Audience Backlash
The film's reception was equally grim. It holds a 14% critics' score on Rotten Tomatoes, with reviewers lambasting its convoluted plot and heavy-handed symbolism. Audiences echoed the sentiment, awarding a "C-" CinemaScore and a 68% audience score on Rotten Tomatoes — notably low for an artist with 110 million monthly Spotify listeners. Exit polls from Comscore PostTrak revealed equally dismal ratings, with 1.5 stars out of five.
This marks Tesfaye's second high-profile misfire in acting, following HBO's The Idol, which was canceled after one season. Both projects, developed with Euphoria creator Sam Levinson, faced criticism for prioritizing style over substance.
A Film Lost in Translation
Positioned as a companion piece to Tesfaye's 2025 album of the same name, Hurry Up Tomorrow blurs reality and fiction. Tesfaye stars as a musician grappling with a breakup and vocal struggles — a narrative loosely inspired by his life. Directed by Trey Edward Shults (Waves), the film co-stars Jenna Ortega and Barry Keoghan but struggles to balance surrealism with coherence. Critics argue it functions more as an extended album promo than a standalone story.
"The film's abstract themes and existential angst alienate viewers," noted one critic, highlighting its failure to resonate even with die-hard fans. Released alongside real-life tragedies like the Los Angeles wildfires, the project's marketing also faced timing challenges.
Original Films Face Uphill Battle
Hurry Up Tomorrow joins a string of 2025 original films — including Mickey 17 and Novocaine — that failed to connect with audiences. Comscore analyst Paul Dergarabedian notes that original concepts often struggle without built-in franchises or compelling marketing. "Audiences need a clear hook," he explains, citing Sinners — a critical and commercial success — as a rare exception due to its star power and director Ryan Coogler's acclaim.
Studio Hopes and Demographic Insights
Lionsgate and partners Live Nation, Republic Records, and CAA positioned the film as a bridge between music and cinema, leveraging Tesfaye's "After Hours Til Dawn Tour" fanbase. Demographically, the audience skewed Caucasian (39%) and Latino (38%), with smaller shares of Black (12%) and Asian (8%) viewers.
Despite the film's commercial failure, Lionsgate defended the collaboration as an innovative experiment. Yet, industry observers suggest Tesfaye may need to reassess his acting trajectory. As one critic bluntly stated, "After The Idol and this, a career pivot might be wise."
The Road Ahead
While Tesfaye's music career remains untouchable, his acting endeavors highlight the challenges of cross-industry success. Whether he continues pursuing roles or refocuses on music, Hurry Up Tomorrow underscores a harsh truth: even global superstars can't always translate fame into cinematic credibility.