Critics reviews

One of the "meta" reasons that this movie is great is that it skirts so dangerously close to Indiewood dramedy territory—the kiss of death, and a graveyard for almost anything interesting. But Tobia's film is fearless in more than one way, including its lovingly critical presentation of a world (of "circles" and cliques) that would condemn the very behavior exhibited here and by extension, in a fit of pique, condemn the film itself.

See You Next Tuesday is unrelenting, its provocations instigated by two sisters taking turns as belligerent firestarters. Bracingly committed to abrasion, the film finds new situations to heighten to hysteria.

The tone veers unpredictably (though never sloppily) between grotesque farce, sensitive chamber drama, and psychological horror, communicating the characters' loose grip on reality and making us confront our conflicted feelings toward people who seem beyond redemption.

The two sisters in "See You Next Tuesday" can be rude, cruel, bratty, painful to watch, funny to watch and, sometimes, reckless. They are also refreshing people to see on screen precisely because of these qualities. And as the movie's writer and director, Drew Tobia, knows, it's hard to depict them any other way because their feelings about family and love are inextricably wrapped up in who they are.

See You Next Tuesday is a confident step into a new frontier of what could be called "unbearable comedy." Drew Tobia's film is an aggressively bleak study of poverty, addiction, mental illness, and family trauma. It's also uproariously funny, but its laughs don't come with an aftertaste of cynicism so much as theyare the aftertaste of cynicism.

Poverty is not so much the subject of the film as it is its animating force, and you can feel its influence coursing through everything. Tobia understands that to be poor is to feel poorness dominate and define you, and he deftly illustrates the sensation, subtle but unceasing, of debt and need gnawing away.