Tuesday
A24 | Release Date: June 7, 2024 CRITIC SCORE DISTRIBUTION
69
METASCORE
Generally favorable reviews based on 33 Critic Reviews
Positive:
23
Mixed:
9
Negative:
1
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Critic Reviews

Critic scorePublicationBy date
100
Original-CinKim HughesJun 12, 2024
It is also astonishingly tender and very human despite its fantastical premise, which rivals any superhero film for boldness of imagination yet summons uncommon emotional heft. Read full review
100
Arizona RepublicKaely MonahanJun 10, 2024
In the end, “Tuesday” is all about learning how to say goodbye. It’s masterfully done. This movie will remain in my top three films of the year. Read full review
100
ObserverEmily ZemlerJun 3, 2024
Tuesday is a challenging watch at times, and it requires an acceptance of the strange world it inhabits, but it’s a deeply worthwhile experience. Read full review
90
The Hollywood ReporterSheri LindenJun 3, 2024
As a woman who has pushed away a lot of hard truths, Louis-Dreyfus delves into a sphere of emotion that she’s never before explored onscreen. She gives us not just the psychology but the feelings of fear, loss and resilience that infuse Tuesday, a story with the sensibility of an Eastern European fairy tale. Read full review
88
LarsenOnFilmJosh LarsenJun 25, 2024
In their hands, and with Pusić’s guidance, Tuesday registers as a magical metaphor for how we process death—and particularly how that might play out in this mother-daughter relationship. Read full review
88
RogerEbert.comNell MinowJun 14, 2024
Julia Louis-Dreyfus gives a performance of breathtaking vulnerability as the mother of a dying teenager in “Tuesday,” a film that tells the story of the most shattering loss of all without melodrama or a score filled with syrupy strings. Read full review
88
The Associated PressLindsey BahrJun 12, 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. Read full review
88
Slant MagazineKyle TurnerMay 31, 2024
This is a film of tremendous emotion, spirit, and paradoxically restraint and ambition. Read full review
83
The PlaylistGregory EllwoodJun 3, 2024
The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands. Read full review
80
The Observer (UK)Wendy IdeAug 22, 2024
There’s a real elegance and economy to Pusić’s direction, in the first half at least. She has a knack for packing layers of story into seemingly insignificant details. Read full review
80
Time OutAnna BogutskayaAug 6, 2024
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. Read full review
80
EmpireJohn NugentAug 5, 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. Read full review
80
Rolling StoneDavid FearJun 10, 2024
Tuesday makes a strong case for death as a natural, if not the most natural part of life. It makes an even stronger case, however, for Julia Louis-Dreyfus being one of the greatest actors working today. Read full review
80
VarietyPeter DebrugeJun 7, 2024
There’s something undeniably exciting about Pusić’s vision, which confronts serious subjects with disarming irreverence. But her creative choices are peculiar, to say the least. Read full review
80
ColliderRoss BonaimeJun 7, 2024
Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings. Read full review
80
The New York TimesJeannette CatsoulisJun 6, 2024
Without much to distract from the three central characters, Tuesday can feel overlong and a little claustrophobic. Yet this compassionate fairy tale works because the actors are so in sync and the imagery — as in one shot of the bird curled like an apostrophe in a dead woman’s tear duct — is often magical. Read full review
80
TheWrapWilliam BibbianiJun 5, 2024
There’s no escapism here, just like there’s no escape from our final repose. But there is a sense that how we face mortality matters, and that maybe — after watching this strange and wonderful film — we’ll be better equipped for that moment. Read full review
78
Austin ChronicleRichard WhittakerJun 13, 2024
It’s such a simple story but told with such grace, tenderness, compassion, and wonder, that all its strangeness seems familiar and welcome. Read full review
75
San Francisco ChronicleMick LaSalleJun 11, 2024
Almost single handedly, [Louis-Dreyfus] muscles “Tuesday” into the territory of being worth seeing. Read full review
75
The Film StageGabrielle MarceauJun 7, 2024
Dreyfus is brilliant as Zora, whose single-minded avoidance of her daughter’s situation leaves her in a constant state of keyed-up inertia. Read full review
70
The Irish TimesTara BradyAug 9, 2024
A carefully modulated tone allows zombie cows, end-of-life care and jokes about furious masturbation to coexist, sometimes in the same scene. Read full review
70
Little White LiesAnton BitelAug 8, 2024
This is a moving and compassionate fable that honours both the dying and those being left behind, while personifying, without ever demonising, death itself. Read full review
70
Screen DailyFionnuala HalliganJun 3, 2024
Between the extensive VFX creature work – led by Mike Stillwell and Andrew Simmonds - the performances, the tone, and the life-or-death subject matter, experienced shorts director Pusic has given her debut her all, and observers will take note. Read full review
60
NMEJordan BassettAug 9, 2024
Unfortunately, its intriguing conceit is also hampered by comatose chemistry, a claustrophobic setting and a slew of dead one-liners. Read full review
60
Los Angeles TimesMark OlsenJun 14, 2024
With Tuesday, Pusić shows great promise as a visual storyteller and director of performers. Yet it is in her work as a screenwriter where the film falters. 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. Read full review
60
Screen RantStephen HollandJun 14, 2024
It’s a deeply symbolic and, at times, flawed film, but Tuesday is filled with love, heartache, and pain. Read full review
58
IndieWireVikram MurthiJun 7, 2024
As much as Tuesday strives to be an adult fairy tale about accepting loss, it struggles to be truly effective because, by design, it traffics in an adolescent sandbox. The fantastic can bring a fresh lens to old truisms, like how the dead live on in the stories and memories of the living, but it’s difficult to enliven them while utilizing the language of a child. Read full review
50
Washington PostTy BurrJun 13, 2024
At its intermittent best, “Tuesday” pulls a rough and breathtaking beauty from the cataclysm. At its worst, it’s for the birds. Read full review
49
The Globe and Mail (Toronto)Barry HertzJun 11, 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. Read full review
42
The A.V. ClubEmma KeatesJun 7, 2024
Tuesday is a tonal mess, flitting between horror, humor, absurdity, and at least one candidate for this year’s most gag-inducing visual as quickly as a parrot traversing the oceans to deliver death to all the world. Read full review
40
The GuardianPeter BradshawAug 7, 2024
As for Louis-Dreyfus, she is very good in the way that only she can be: intelligent, sensitive, focused and intense, hitting the line-readings with percussive force. How overwhelming it might have been to see her and Petticrew play this story without the indie high-concept bird. Read full review
40
Paste MagazineNatalia KeoganJun 12, 2024
The film’s confounding tonal discordance, salvaged only in spurts by a commendable performance from Julia Louis-Dreyfus, makes its observations far more embarrassing than existential. Read full review
25
Boston GlobeOdie HendersonJun 13, 2024
It felt like I was watching a Wayans Bros. movie instead of one that expected me to take the ideas of dying and grief seriously. Read full review
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