Tuesday is not a film about dying, but about the choices the living make when confronted with profound loss. It doesn't break your heart as much as help put it back together.

| Original Score: 4/5 | Sep 11, 2024

Tuesday is a magical realist allegory, dramatising our feelings about mortality – grief, denial, acceptance, despair – and interrogating what a good death might even mean.

| Aug 17, 2024

There’s a grimly self-conscious “ain’t this just wacky?” overstatement to many of these scenes — a fatal over-reliance on vapid spectacle when any meaningful lower-key content would have sufficed.

| Original Score: 2/5 | Aug 13, 2024

There’s a real elegance and economy to Pusić’s direction, in the first half at least... Her tight grip on this fatalistic fairytale loosens a little as the film unfolds, but there’s no question that this is a remarkable and assured first feature.

| Original Score: 4/5 | Aug 12, 2024

The film is fantastical, but the ache at its heart is real, and stays with you.

| Original Score: 3/5 | Aug 12, 2024

As it is, the movie can’t quite bear to make the macaw properly funny, or properly scary. So the action exists in a tonal muddle.

| Original Score: 2/5 | Aug 7, 2024

This is probably not the film you would expect it to be. But its unexpectedness is its biggest asset, a moving and very eccentric feathered fantasy about life, death and everything in-between.

| Original Score: 4/5 | Aug 5, 2024

Death somehow becomes one of the tragic figures in this scenario.

| Original Score: 4/5 | Jun 24, 2024

Original and mesmerizing. It was weird, sometimes wonderful, sometimes a little annoying, but I was consistently captivated.

| Jun 21, 2024

It’s such a simple story but told with such grace, tenderness, compassion, and wonder, that all its strangeness seems familiar and welcome.

| Original Score: 3.5/5 | Jun 20, 2024

“Tuesday” broke me when a macaw, who is supposed to be Death, starts rapping Ice Cube’s “It Was a Good Day” with its titular character, Tuesday (Lola Petticrew), the teenage girl whose soul it has come to collect.

| Original Score: 1/4 | Jun 20, 2024

Without the power and nuance that Louis-Dreyfus brings to the role, the drama would not have nearly as much spine or impact as it does.

| Jun 17, 2024

Demands and receives new and challenging things from Julia Louis-Dreyfus while announcing a formidable new filmmaker, the Croatian writer-director Daina O. Pusić.

| Original Score: 3.5/4 | Jun 14, 2024

Like the under-seen "A Monster Calls," this movie is frank about the messiness of the emotions around death.

| Original Score: 3.5/4 | Jun 14, 2024

Pusić's choices, while bold and stylistically daring, simultaneously lighten the mood — without them, "Tuesday" would be a maudlin grief-fest — and undercut it.

| Original Score: C | Jun 13, 2024

“Tuesday” is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.

| Original Score: 3.5/4 | Jun 13, 2024

At its intermittent best, “Tuesday” pulls a rough and breathtaking beauty from the cataclysm. At its worst, it’s for the birds.

| Original Score: 2/4 | Jun 13, 2024

“Tuesday” offers numerous rewards, including two amazing lead performances and a thoughtful discourse on acceptance of our mortality.

| Original Score: 3.5/4 | Jun 12, 2024

So much of its script is frustratingly trite, its perspective on grief never rising above grade-school emotions, with thin characters forced to carry its surface-level themes. Even Louis-Dreyfuss cannot manage to figure out just what to do with the story.

| Jun 11, 2024

It’s the highest praise simply to note that Petticrew is a match for Louis-Dreyfus and that she makes Tuesday into a complete person, so substantial that we share some of her mother’s sense of loss.

| Original Score: 3/4 | Jun 11, 2024