उपयोगकर्ता समीक्षाएं

Death is never an easy thing to accept whether you know it may be time for it to visit you personally or when it's come to someone you love. I've had 2 liver transplants with the first being in 1989 and the second in 2023 and I'm only 35 years old. My Mom has been there beside me every...step..of..the..way, not just as my mother but also my best friend. The emotions of Julia Louis-Dreyfus in this film is not only the emotions of my mother and every loving mother on this planet, it's emotions I connected with so much due to the lengths I know my Mom has gone to to make sure I get at least one more day on earth with her. When I'm in pain, she's in pain just like Tuesday and her Mom Zora are.

This movie highlights grief, learning to let go even when you want to hold on to the ones you love with all your might as well as understanding the pain from both sides of the one losing/have lost someone and the one that is about to pass on.

My Mom cried just from watching the trailer as she connected with Tuesday's Mom's emotions just by imagining if it were her and I that experienced this incredible story. This film is truly one of a kind and something that not only made it's way to my heart but decided to stay there indefinitely.

Who doesn't love when a film subverts your expectations? That's certainly the case with Tuesday, the directorial debut of Daina O. Pusic. We follow the story of a mother desperately trying to avoid the impending reality of the passing of her terminally ill daughter (the titular Tuesday). At a glance, as it's a premise that has certainly been done before, you wouldn't be remiss to assume this film to be an emotionally heavy tale, but somewhat simple and banal. But it's not what you would expect. Pusic has managed to shake up the formula and with the help of some magical realism, has told this story in a fresh, unique and interesting way.

We get Death in the form of an anthropomorphic macaw bird who swoops in when your time is up, wrapping you under his wings and taking your soul away. When it is Tuesday's time, whilst she feels she is ready, she knows her mother is not, and so attempts to delay the inevitable by befriending Death and seeking his help in assuaging her mother. Naturally, her mother is not easily persuaded and furiously bargains with Death; eventually taking matters into her owns hands with surprising results.

What follows is a somewhat absurd narrative, with many moments that are both shocking and humorous, but equally heartfelt. It is beautifully sincere in its examination of the complexities of accepting death; sold brilliantly by the performances of Julia Louis-Dreyfus (of Seinfeld and Veep fame) and Lola Petticrew, who bring emotion and authenticity to their respective characters. The pacing was a bit jumbled, with the first half dragging slightly, and the latter half, which introduced many interesting and frightening existential dilemmas, feeling quite rushed and underexplored. And whilst, the VFX interpretation of Death was mostly good, it is the deep, dulcet tones of Arinzé Kene, both unsettling and ominous, yet sympathetic and comforting, that really sells the character. Pusic is definitely one to watch.

What an intriguingly bizarre little film.

A terminally ill teenager, finds herself facing her own mortality.

A seemingly selfish mother, refuses to let her daughter go.

A young nurse must constantly deal with people navigating their way through this scenario.

While a tortured parrot manifests as the embodiment of death.

Exoterically, the stricken young woman- who goes by her middle name, Tuesday- is forced to confront her own mortality, when she is visited by a harbinger, in the form of a talking parrot, whom acts as the embodiment of death.

Her mother- Zora - burdened by the state of her daughter's condition...but doing the best that she can...has lost her job, and is forced to sell all their worldly belongings (to pay for her nursing care).

Though, she pretends to go to work each day, so as to bring a sense of normalcy to their upended lives.

Upon returning home on this day, however, she is confronted by her daughter, who warns her of her impending death.

During which, she too, must come face-to-face with death, in the form of the talking parrot.

To the point that she unwittingly brings about a zombie apocalypse- after taking matters into her own hands- in an attempt to stave off the inevitable.

Until she is forced to grips with the question of whether she is doing this to protect her daughter (from the inevitable); or herself (because she's unwilling to let go).

Making what ensues the last desperate act of a woman whose life has already began to condition her to accept such a reality (ie being forced to purge all her worldly possessions...with extra symbolism being added via the stuffed bishop rats, that represent her loss in faith).

Which is an example of how expertly esoteric messages are symbolically spun into this film.

For example...you find yourself asking the question...why a parrot?

The answer to which requires a multifaceted symbolic reading.

On the one hand, it relates to the longevity of a parrot's lifespan, being very close to our own; while, as a pet, they act as close companions to us humans; and possess the ability to mimic our actions, and personality.

On another, it simply works as a play on words between parrot and parent.

Though, on it's most esoteric level, it relates to the Rumi poem about the parrot and the merchant.

A tale in which the cage that acts as the prison of a domesticated parrot, is likened to how the body acts as a prison to the soul of a person, trapped in the material world (which is the realm of suffering in both Buddhist and Islamic philosophy).

An idea that obviously resonates with the situation in the story we are presented with here.

To be honest, I really didn't think I was going to like this film at first.

But, by the end, it had won me over.

Leaving me pleasantly surprised...despite the unpleasant nature of the content it acts to confront.

It's such a wonderfully weird- and dark- little film.

With an excellent performance by Julia-Louis Dreyfus as the mother.

Though, it's most commendable aspect, is how it is able to lighten the concept of dealing with the untimely- and unjust- death of a child...while dealing with the dark roads- those left to deal with the aftermath- are forced to traverse.

An excellent first feature from rookie director Daina O. Pusic.

Recommended if you like films like Beau Is Afraid...which I feel like it is somewhat akin to, in both subtle- and not-so subtle- ways.

6 out of 10.

Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that's worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.

The film opens by taking us on the daily routine of the Death Macaw as it visits those who have reached the end ... whether they are ready or not. Some go peacefully, others not so much. Soon it visits Tuesday (played by Lola Petticrew, SHE SAID, 2022). Tuesday has a terminal illness and is wheelchair-bound and tethered to an oxygen tank. She knows it's her time, but negotiates with the bird so she has a chance to tell her mother goodbye. A brilliant combination of humor-kindness-sarcasm-pot-music (Ice Cube)-and bathtime cause the death bird to give in and grant Tuesday's wish. Of course, such a decision means death is taking a break, thereby wreaking havoc around the globe.

Mother Zora (Julia Louis-Dreyfus, "Seinfeld", "Veep", 11 Emmys and counting) returns home and reacts quite aggressively ... actually violently ... to the bird that's there to take her daughter. Zora may be keeping secrets from her daughter, but it's with the best intentions to protect her. And protecting her is exactly what she thinks she's doing when she goes to war with the macaw (brilliantly voiced by Arinze Kene). This mother is just not willing to let her beloved daughter go without a fight ... a fight that shifts the tone of the movie, as well as mom's place in it.

It seems negotiations are ongoing between the parties, even though we all know there is no cheating death - at least not in the long run (some runs are longer than others). Yet, most of us spend each day warding off the idea or simply assuming it's not our time. We also know most parents will go to any length to protect their kids and ease any pain they might have. A significant portion of this story is about dealing with grief. Julia Louis-Dreyfus mostly replaces her usual goofy grin with a look of stress and anguish. Facing reality, she's despondent right up until she is enlightened. The filmmaker inserts an insightful blip near the end about God/the afterlife, and the best message is that grief must be dealt with. At some point, we must 'get on with it' and understand that the legacy of loved ones is carried on in our memories. Daina Oniunas-Pusic shows us some real creativity on a familiar topic, and it's pretty impressive.

Opens in theaters on June 14, 2024.

Interesting take on the concept of death and dying I kept waiting for the dream sequence to end. Then I realized this is not a dream. The movie runs a bit slow and somewhat disjointed. For instance, how many days, weeks, months does the movie cover. Some scenes change without explanation. More character building and backstory development would be helpful. Louis-Dryfus is stepping away from the roles she is usually seen in. She doing a good job as a dramatic actress. The acting is good by You definitely have to pay attention which can be hard when it begins to lag. If you are a Syfy fan, you may like this movie.

It's a fantasy film about Death, set in the modern age in a large American city. It has four main characters. Zora (Julia Louis-Dreyfus) is a single, financially challenged mom dreading the impending Death of her teenage daughter, Tuesday (Lola Petticrew), from a debilitating terminal illness. Billie (Leah Harvey) is a nurse who cares for Tuesday when Zora presumably works. The fourth main character is Death (Arinzé Kene), who interacts with Zora and Tuesday throughout the movie.

The point of "Tuesday" seems to be coming to terms with Death and suggests there can be short-term negotiations with Death. I had a lot of problems with the film, having experienced the extended death of a loved one through cancer. There was virtually nothing to which I could relate in "Tuesday." There is a reality and finality about death that fantasy can't address.

In addition, Tuesday's character looked way too healthy for someone in the last stages of terminal illness. However, the film dressed her up with oxygen tanks and bed lifts, but at other times, it had her merrily operating her wheelchair with minimal effort. The interaction between Death, Tuesday, and her mother was interesting as creative imagery, but it didn't connect to my reality.

Well-intentioned but predictable and a little too silly to sell a serious grief metaphor. The creative direction of the second half sent the melancholy pacing into overdrive. The story replaces genuinely well acted mother-daughter dialogue with pondering. But all throughout the film, misplaced jokes seemed forced into the script. The computer generated bird in particular was very hard to take seriously due to the annoying voice acting and cringeworthy jokes.

The film reminds me of "Sometimes I think About Dying," which I'd recommend for a more consistent drama that deals with depression in a subtler way.

Is it weird to think a movie is good but still dislike it? Because that's my stand on Tuesday. The acting is good. The filmmaking is well done. The screenplay is fine. I just could not be less interested. I found this deep meditation on death to be a total bore.

Perhaps I had the wrong expectation going in? I knew the basic plot, a sick girl is visited by death in the form of a bird and the girl's mother, already handling her child's illness poorly, does not react well to the whole situation. Does this sound like a dark comedy? A serious drama? A fantasy film? To me, it sounded interesting, whatever genre it fit in. But in actual viewing I discovered the only label I would come up with is dull. Dull, Dull. Dull.

On a side note, this now is the second film this year I've seen where a woman becomes a giant (The first was Love Lies Bleeding). I'm not sure what to make of this. Is this a trend of some sort? Are directors into giantess porn and it's spilling over into their mainstream work? I'm confused by this.

What would it look like if Studio Ghibli made a live-action film about death and the stages of grief? You would get TUESDAY, a movie about Zora (Julia Louis-Dreyfus), a mother who is in denial over the inevitable death of her terminally ill daughter Tuesday (Lola Petticrew). When they encounter Death itself (Arinzé Kene), they both react differently. To be clear, Studio Ghibli didn't make this, it just felt like it. We have A24 to thank for this endlessly fascinating unique experience. This movie goes to places I never see coming. Amidst the heavy themes and tone, there are moments of humor that lighten things up. I love the small but well thought out details involving world-building, and the mother-daughter dynamic. I'm also really enjoying seeing Julia in more indie dramatic roles recently, very good. Some people might find this movie slightly dragged halfway through, or they might find some scenes a little too weird, but as I must've said in a different review, my favourite kind of movies now are bold, weird and unique. TUESDAY hooked me in the first minute. I found it for rental, but I really hope a streaming service picks it up so it can have a wider audience. We need more movies like this. Remember, death is just a part of life. It's definitely sad, but it isn't inherently bad. Treasure the moments you have, with yourself and the people you love.

A very but interesting and real A24 movie, this is definitely a good movie with a solid premise m, but it can't be a little weird and it's ok if you don't understand everything about this ok, its fine not having idea of whats happening in the film, overall this is a great movie if you are one of those pretentious cinema "experts" like a lot on IMDB, if you understand the movie, you are lying, the bird is somekind of Shinigami and that's everything you need ti understand ok, other than that it's impossible to know what's happening, Dreyfus is great as this awful mother and the 25 year old actress interpreting the daughter is great.

In the story of a dying family fighting against grief, some incomprehensible fantasy elements are inserted; the arrival of the brown horse tells people that its weakening will lead to cruel facts, and also makes people learn to lower their voices. Following last year's "You Hurt Me," which collided with A24, Julia was once again pulled into dealing with a very serious role and emotions that had nothing to do with comedy; although she performed it appropriately, the design and voice acting of the entire animal was completely unreliable from start to finish. It makes me feel bad at the end. I can tap into the emotional power of the story, but I don't quite understand how it's told.

Loss is hard and so is letting go.

With that out of the way, let's delve in shall we?

I'm thoroughly conflicted.

The idea of a parrot as death is genius.

The cinematography was passable leaning toward worthy.

The acting was wishy-washy, Julia Dreyfus was passable as a grieving mom who refuses to relinquish hope that her terminally ill daughter(Lola Petticrew) the titular"Tuesday" is on the precipice of death. The plot was woefully underdeveloped.

I dug the idea of a size-shifting red macaw as death, brilliant especially since many parrot species outlive their owners. I was all in until the pronounced corny jokes started and sapped all seriousness. I'm all for comic relief in dark dramas but this seemed nonsensible. There was no need for constipated humor. And what are you, sci-fi, drama, dramedy?

Here's the rub, the parrot was reminiscent of Joe from "Meet Joe Black" if Joe was shallow, underdeveloped, and ancillary. In "Tuesday" Death's genesis is an insipid bore. Its mother was a literal void of darkness that spat him out of her/its womb. That's it! That is the depth of Death. I needed more here to give it that "wow" factor.

If you stumbled upon it, a sleeper movie, yeah, then it's pretty good.

If you read the praise and adulation, it misses the mark.

I don't understand the heaps of praise.

Perhaps I am missing something.

6/10.

Just finished this film and don't know whether to say that I liked it are not. I didn't dislike it. The characters are well written and have a lot to say. The pacing was good, it was always interesting and moving ahead. The writer/director examined topics rarely examined in film. What I liked about the film was that it covered so much new territory in an original story. I will watch it again.

Tuesday (Lola Petticrew) is a dying teen. She is visited by death in the form of a size-changing macaw. Her mother Zora (Julia Louis-Dreyfus) is struggling with the issue.

This is a weird telling of this challenging subject matter. I can say that this movie has the benefit of being unique. I don't think that death has been represented in this way. I do have a couple of minor concerns. The tonal changes can be jarring. I would also like mother and daughter to have the same accent. I do get it. When Julia Louis-Dreyfus wants to do your little quirky British indie, you don't say no and you can't demand that she adopts a British accent. Those are minor issues when compared to the outsized uniqueness of the concept. In another ten years, I will remember this movie.

Not as bad as Beau is Afraid. Love JLD and Joaquin Phoenix, but the stuff A24 has produced recently is straight garbage. Bad enough that I'm angry for the time wasted.

The storyline is predictable and boring. It feels like they are trying to stretch the minimal amount of context that they have. It's nearly all meaningless filler. The special effects are sophomoric.

JLD's performance is inconsistent. At times, she is able to convey her skill at the craft. At least 50% of the time, it's just stupid. The other 2 characters are inept, showing their youth and inexperience.

One more skunk, and A24 goes on my banned list.

Julia Louis-Dreyfus, after a considerable hiatus, finally graces us with her presence in a project outside the realm of blockbusters. This welcome departure was facilitated by A24, and while I cannot ascertain whether it was Daina Oniunas-Pusic's brainchild, it proves to be a casting coup of the highest order.

The negative reviews that have plagued the film reveal a fundamental misunderstanding. It appears that those drawn in by the trailer, expecting a comedy or drama featuring Louis-Dreyfus, were sorely disappointed. At this juncture, attempting to explain the nuances of metaphorical cinema and subtext to such individuals seems futile. While one cannot compel everyone to watch every film, it's lamentable that they do so only to inundate these exquisite works with negative commentary.

This marks my inaugural foray into the world of Daina Oniunas-Pusic's oeuvre, and I eagerly anticipate delving into her filmography retrospectively.

The film's sound design is a tour de force, demanding to be experienced with a top-notch audio system. The subtle nuances and immersive soundscapes elevate the viewing experience, adding layers of depth and meaning to the narrative.

One can only hope that A24 will extend the reach of this cinematic gem to a wider audience, both in cinemas and through home video releases, with Turkey being a prime target for such an expansion. The film's universal themes and emotional resonance have the potential to captivate viewers across cultures and continents.

Oniunas-Pusic's direction is assured and confident, showcasing a deft hand at balancing the film's surreal elements with grounded emotional truths. The film's visual style is striking, with its muted color palette and dreamlike imagery creating a haunting atmosphere that lingers long after the credits roll.

Louis-Dreyfus delivers a nuanced and understated performance, showcasing her versatility as an actress. She effortlessly embodies the complex emotions of a woman grappling with grief and loss, her subtle facial expressions and body language conveying a depth of feeling that transcends words.

The supporting cast, including Arinzé Kene and Lola Petticrew, also deliver strong performances, adding further layers of complexity to the film's emotional tapestry. Their interactions with Louis-Dreyfus' character are both tender and heartbreaking, highlighting the power of human connection in the face of adversity.

"Tuesday" is a film that defies easy categorization. It's a meditation on grief, loss, and the enduring power of love. It's a film that challenges viewers to embrace the unknown and to find beauty in the mundane. It's a film that lingers in the mind long after the final frame fades to black.

I would watch this amazing artist read the dictionary, but this film was a tour de force, in my opinion, in tone, writing, and execution. At first, I was somewhat confused and dubious about the mix of improbability and profundity, but as the story wore on, I got it and loved it. The parrot was a brilliant vehicle and a truly legitimate character force, beautifully balanced by the realism and irreverence of Zora. Gorgeous and filled with stunning beauty. "Get up, woman!" Julia LD was perfectly cast in this vehicle as were all the other players. Kudos to the sound engineer and dialect coach for mixing it up perfectly. Such power, nuance and creativity.

I found the premise of this movie intriguing so I gave it a watch. The first thing that comes to mind is original, I don't think I've watched anything quite like it. It's hard to give a great review without having to insert a tiny spoiler or two. So the description tells us that the mother and daughter are facing a situation of death. The daughter is extremely ill, she's dying. Now this is where the movie made me mad, as mother's we take on a lot, we make mistakes a lot, but how this mother behaves because her daughter is dying is, in my opinion horrible. Sure, I get it they need to make the movie interesting. They need to give you someone to like and someone to dislike. They need to put into place all the reasons why, all the heartache, and then the ability to make up, and make it all ok. But I did not like the character of the mother at all. I will not be watching this movie again. To be honest i can barely recommend that someone else watch it. On to the next.

Like a lot of A24 films, it's unexpected and kind of a slow burn, but somehow really engaging and ultimately worth watching. I sat in the theater like "what?" But I haven't stopped thinking about it since, and Julia Louis Dreyfus could get nominated. Give it a chance, and if you've ever lost someone, you'll relate. It wasn't the "Terms of Endearment" mother daughter movie I expected-the conflict is present from the very start. Their chemistry takes a while to establish, and there are some unanswered questions about why the American mom has a British daughter and where is the dad through all this.

Every once in a while a movie comes along that is deeply moving and inspiring - that deals with the most difficult subjects human beings can deal with, and yet hits all the notes about what we must come to accept about life, the value of it's worth, and what it means to live fully and authentically - sharing our love for others, the planet, animals and the environment around us well simultaneously experiencing the enrichment of those things as they bring joy and love to our own lives.

Tuesday is a movie with a story that perfectly exhibits the acceptance of Death as it approaches and the beauty of that time as it is given for that purpose. It teaches us not to fear the reaper and to understand that the fear of Death itself has become a disservice to fully appreciating the memories we are able to make while we are able to make them.

Julia Louis-Dreyfuss is a gem in this role as a mother of the amusing and vivacious Tuesday, her daughter who despite having a terminal illness is so unique and spontaneous that even Death is taken aback and unable to take her when Death had originally been summoned to be her angelic companion to the spirit world.

The trailer brought me to tears and compelled me to watch the movie, and I would recommend that anyone looking for a heart-rending story with phenomenal acting and a thoroughly inspiring storyline watches it.

It seems almost beside the point to have to say that some films are never meant to be for "everyone" even when they explore themes that quite literally DO apply to Everyone. In any case, this is one of those films. In fact it's probably not mean for "most" viewers to be honest. One needs to go in a with a more open mind than average and with willingness to trust the story.

The setup centers around a girl on the verge of death and a mother too distraught to even spend time with the daughter she is losing. First the girl, then the mother, meet the actual personification of Death in the form of an ancient tropical bird. Thus, the film starts as a bracing meditation on the "ends" life can take and becomes a literal conversation with Death. The many surprising detours the story takes follows a path that gradually reveals a deep affirmation of life and the truth that death itself is both essential to life, but it can be as often as not a great kindness when it ends suffering.

In any case, despite the heavy subject, I left inspired by its willingness to approach the subject of mortality and loss with such grace and compassion. It feels to be exploring the questions it raises with an almost childlike naivety; ideas that might be rejected by other storytellers are allowed to be given space to bloom even if they lead to some very strange territory. Taking such risks does reap genuine rewards though, gradually weaves a an almost perfect balance between the Universal through the lens of the highly personal.

Comparisons to the angels in Wim Wender's "Wings of Desire" would feel appropriate. I was left with the same kind of lightness I felt with that film, as well as others that have an open embrace of life and death as necessary partners in an eternal dance.