Tuesday, After Christmas - Movie Reviews - Rotten Tomatoes

Tuesday, After Christmas Reviews

Top Critic
Andrew O'Hehir
Salon.com
May 28, 2011
"Tuesday, After Christmas" goes down pretty smooth, with a sneaky-powerful aftertaste.
Top Critic
May 27, 2011
The latest bloom from the flourishing garden that is Romanian cinema, Radu Muntean's Tuesday, After Christmas chronicles the emotional fallout from a classic love triangle, but it unfolds with the agonizing tension of a suspense film.
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Joe Neumaier
New York Daily News
May 27, 2011
Like an alternate-universe Woody Allen film, in which real people wrestle with what their hearts want despite the hurt it causes everyone, including themselves.
Full Review | Original Score: 4/5
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Noel Murray
AV Club
May 26, 2011
More about well-observed moments of everyday life than it is about heightened melodrama.
Full Review | Original Score: A-
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Joshua Rothkopf
Time Out
May 25, 2011
Muntean has pulled off the near-impossible, turning each scene (captured in capacious long takes) into arias of generosity for his actors.
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V.A. Musetto
New York Post
May 25, 2011
Marital infidelity is hardly a new cinematic topic. But this film is far from cliched, thanks to the literate script and a trio of sensitive performances...
Full Review | Original Score: 3/4
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Nick Pinkerton
Village Voice
May 24, 2011
Muntean's fourth feature is unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest, the kisses accompanied by smacking sounds to smother any erotic response.
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A.O. Scott
New York Times
May 24, 2011
The strength of "Tuesday, After Christmas," Mr. Muntean's fourth feature, lies in its rigorous, artful and humane fidelity to quotidian circumstance.
Full Review | Original Score: 4/5
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Natasha Senjanovic
Hollywood Reporter
May 23, 2011
The dissected minutiae of this adultery drama unfortunately doesn't add up to a very original or moving whole.
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Jay Weissberg
Variety
May 23, 2011
Long takes with an often still camera call as little attention to Tudor Lucaciu's masterful lensing as possible, stripping down cinematic elements to their most basic and maintaining an observational stance without becoming fetishistic.
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Richard Brody
New Yorker
May 23, 2011
There's neither glamour nor its absence, neither cinematic references nor a repudiation of them, just a soap-opera story, told with a conventionally arty craft that has neither resonance nor significance.