Jenna Ortega’s ‘Hurry Up Tomorrow’: From Flop to Streaming Success

Jenna Ortega’s rise in Hollywood has been nothing short of remarkable. From her breakout role in Netflix’s Wednesday to a part in the recent Beetlejuice Beetlejuice, the young actress has quickly become a sought-after name. However, not every project lands with the same fanfare. Her 2025 psychological thriller, Hurry Up Tomorrow, initially proved to be a significant misstep, both critically, and commercially. Now, nearly a year after its disappointing theatrical run, the film is experiencing an unexpected resurgence – finding a new audience on streaming platforms.

Starring alongside Abel “The Weeknd” Tesfaye, Hurry Up Tomorrow was pitched as a mind-bending thriller centered on a musician grappling with insomnia who becomes entangled in a surreal journey with a mysterious stranger. The premise, however, failed to translate to a compelling cinematic experience. Critics were largely unimpressed, awarding the film a dismal 14% rating on Rotten Tomatoes. One review, as noted by Collider’s Jeff Ewing, pointed to a lack of character depth and repetitive story beats, stating that the film took too long to find its footing. Ewing wrote, “Characters aren’t given sufficient depth, story beats are repetitive (we get it, you’re stressed walking out to perform), and it’s too late by the time it gets going in the final act.”

The film’s box office performance mirrored the critical reception. Produced on a $15 million budget, Hurry Up Tomorrow grossed a mere $7.8 million worldwide. Its initial release in over 2,000 theaters quickly dwindled, with the film playing in just 124 locations by its fourth weekend, according to reports. It quickly became one of the biggest box office flops of 2025.

Despite this initial failure, Hurry Up Tomorrow is now experiencing a surprising second life on streaming. As of February 2026, the film has climbed to the number two spot on Starz’s list of most-streamed movies in the United States, trailing only Nnamdi Asomugha’s 2025 drama, The Knife. This unexpected success highlights the evolving landscape of film consumption and the potential for projects to find an audience beyond the traditional theatrical window.

Interestingly, Hurry Up Tomorrow isn’t the only 2025 Ortega horror project finding renewed attention on streaming. Death of a Unicorn, another film that underperformed in theaters, currently holds the number two position on HBO Max’s list of top streaming films worldwide. This trend suggests a growing willingness among audiences to explore films that may have been overlooked during their initial release.

Directed by Trey Edward Shults, who also co-wrote the screenplay with Reza Fahim and Tesfaye himself, Hurry Up Tomorrow represents the lowest-scoring project in Jenna Ortega’s career to date, according to Rotten Tomatoes. The film stars Tesfaye as a fictionalized version of himself, struggling with the pressures of touring and mental health challenges, and Ortega as Anima, an obsessive fan who seeks a deeper connection with the musician.

The film’s streaming success raises questions about the factors contributing to its newfound popularity. While the initial critical response was overwhelmingly negative, word-of-mouth and increased visibility on streaming platforms may be driving viewers to give the film a second chance. It also speaks to the enduring appeal of both Ortega and Tesfaye, whose fan bases may be eager to consume all of their work, regardless of critical reception.

The story of Hurry Up Tomorrow serves as a compelling case study in the changing dynamics of the entertainment industry. The traditional metrics of box office success are no longer the sole determinants of a film’s value. Streaming platforms offer a valuable opportunity for projects to reach a wider audience and potentially find a dedicated following, even after a disappointing theatrical run. While the film may not have achieved its initial goals, its current streaming performance demonstrates that a second chance can sometimes be all a film needs to find its audience.