The Big Picture Few people have had as impressive of a career in television as Julia Louis-Dreyfus has. Between Seinfeld, The New Adventures of Old Christine, and Veep, Louis-Dreyfus is tied for the most Emmy wins for a performer , and with Veep, she became the first person to win six Emmys for the same role in a series. But it’s high time that Louis-Dreyfus gets deserved appreciation for her film work.
As Death works its way through the backlog of people who call for it, he meets a sick teen girl named Tuesday . Yet Tuesday can quickly tell that this is no ordinary bird and she’s not ready to die, so she tells Death a joke. Unexpectedly, Death laughs and agrees not to kill Tuesday until her mother Zora comes home, so she can say goodbye. Zora loves her daughter, but she struggles to see her in this state.
Oniunas–Pusić’s script is also wonderfully assured, and despite this being a film that literally starts with a bird that is the actual manifestation of death, the film never slows down to explain what the hell is going on. Either you buy that this giant bird can kill anyone it comes in contact with and that’s how death works, or you’re simply in the wrong theater.
As this story progresses though, Zora starts to become more central and important to this tale, and Louis-Dreyfus handles all the twists and turns with grace and perfection. There’s an overwhelming love tinged with pain that we can feel in her every action, a feeling that it becomes clear she’s simply gotten used to after all this time.
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