TUESDAY

Tuesday features an excellent performance from Julia Louis-Dreyfus, once again proving that she is one of the most talented actresses currently working, and while the story is built around a good premise, its execution leaves you wanting more from the film.

If there is one actress who has shown incredible range in the projects she takes on, it is Julia Louis-Dreyfus. From long running comedies such as Seinfeld and Veep, to critically acclaimed films like You Hurt My Feelings and Enough Said, and even the Marvel Cinematic Universe as Valentina Allegra de Fontaine, there is nothing she can’t do. Her name alone attached to a project is more than enough to pique my interest, and throw in A24 as the studio behind the film, and you know you are bound to get a good film. And there is no denying that Tuesday is a good film, with its meaningful exploration of coming to terms with death for the young girl facing it and the mother refusing to accept the truth that her daughter is dying. But, at the same time, the CGI used to bring to life the talking bird that acts as death is distracting at best, and the manner in which the story unfolds feels drawn out and slightly overstays its welcome.

There is no denying that Daina Oniunas-Pusic’s writing is well intentioned with the story she tells in Tuesday. Instantly, the emotional situation of the story hooks your attention and gives the cast great material to work with. Exploring approaching death with a clear conscience and parting on good terms with your loved ones are universal ideas that every audience member can connect with, and the emotions expressed are honest and heartfelt throughout. Yes, death appearing as a talking bird may not be the most inventive personification of death you’ve seen in a film, and it is a little cheesy at times as the talking bird chirps at and attacks our characters especially given the abysmal CGI to bring it to life, but it works within the confines of this story. The direction the narrative moves towards in the second half is interesting, providing a catharsis for both Tuesday and her mother Zora, but as the film enters its third act, it takes a little too long to wrap the story up. The emotional climax of the film happens earlier than expected, but it tugs on your heartstrings with the right amount of force to evoke an emotional reaction from viewers. Even though you are waiting for the big moment from Louis-Dreyfus as Zora in the film’s final act, it takes a little too long to get to this point, which hinders the film’s pacing and makes the end of the second act feel like a false ending. It’s never enough to completely derail the film, but being even five to ten minutes shorter in the film’s third act to get to its final moments would have improved the film as a whole.

What truly carries the film is the lead performance of Louis-Dreyfus. She is truly breathtaking as Zora, the mother struggling to come to terms with her daughter’s terminal status. She captures a true internal torture with a raw vulnerability that allows you to feel her character’s struggle at every turn, while also bringing some great humorous moments to the film to help balance out the darkness inherent in the story during the first two acts. It’s yet another brilliant performance from her that allows her to flex her dramatic muscles, proving why she is one of the best actresses currently working in the industry. As Tuesday, Lola Petticrew is good, capturing the defeated nature of her character who wants to reconcile with her mother before passing. She’s at her best when sharing the screen with Louis-Dreyfus, creating a tender mother-daughter relationship that forms the beating heart of the film.

When it comes to A24, you know you are destined to get a different film than what you would find at a traditional studio, albeit one that is well made and full of untampered creative vision. Tuesday easily fits into this A24 branding, with its unique approach to death and a mesmerizing lead performance from Julia Louis-Dreyfus, even if it slightly stumbles in wrapping up its narrative in the final act the dampens the emotional impact of the story.