Film

Tu£sday

Name: Tu£sday
Genre: Crime, Mystery
Released: 2008
Cast: Philip Glenister, Kevin McNally, Kate Magowan, Kirsty Mitchell, John Simm

A London bank heist spirals into chaos when multiple criminal crews, con artists and amateurs all converge on the same target on the same day. This brisk 79-minute crime caper thrives on coincidence and crossed wires, favoring snappy dialogue and ensemble confusion over elaborate planning. It's for viewers who enjoy their heists messy, their criminals morally flexible, and their plots pleasantly tangled.

Should you watch it?

Watch it if you enjoy a tightly plotted caper where several separate schemes collide on one London morning, and you like watching the threads knot together with a sly, Guy Ritchie-ish swagger.

Skip it if you want a deep character study or a slow-burn mystery; this is a brisk, cheeky ensemble romp that prefers quick jokes and busy cross-cutting to anything lingering or introspective.

What it asks of you: About eighty minutes of close attention, since its crossing storylines move fast and reward you for keeping track of who is where and why.

Not sure? Find tonight's pick in a minute.

If you liked this

Lock, Stock and Two Smoking Barrels1998

Fast-talking criminals and criminals-to-be collide across London in interlocking schemes. Sharp dialogue, sudden violence, and a plot that rewards close attention. This is the template for ensemble crime comedies done right.

But The rapid-fire cockney slang and overlapping storylines can feel exhausting rather than clever. Some viewers find the posturing exhausting after ninety minutes.

Lock, Stock and Two Smoking Barrels poster

In Bruges2008

Two hitmen hide out in medieval Bruges after a job goes wrong, leading to unexpected philosophy, genuine warmth, and sudden brutality. Every scene crackles with purpose. A crime film that earns its emotional weight.

But Tonal shifts between dark comedy and real despair might feel uneven. The pacing lingers when you want momentum.

Sexy Beast2001

A retired London criminal in Spain gets a visit from an old associate. Surreal, menacing, darkly funny, and powered by Ben Kingsley's terrifying charisma. Proof that crime films can be genuinely strange.

But Long stretches of quiet Mediterranean ennui before the disruption arrives. Some find the surrealism pretentious rather than unsettling.

Not sure tonight? Get a pick in a minute, starting from Tu£sday

The wildcard

Something you would not have found on your own.

Get Carter1971

Both are London-set crime films about colliding schemes, but Get Carter strips away all humour and playfulness, showing what happens when criminals stop being lovable rogues and become actual predators.

Michael Caine returns to Newcastle to solve his brother's death in this lean, brutal British noir. No winks, no jokes—just a man moving through a corrupt provincial city with cold efficiency. Raw, precise, and genuinely unsettling.

But Shot in bleak 1970s monochrome with minimal music. The slowness and moral emptiness will feel dated and depressing to viewers expecting pace or redemption.

Kiss Kiss Bang Bang2005

Robert Downey Jr. as a small-time thief turned accidental actor in Los Angeles. Funny, self-aware, wildly entertaining, with a plot that doubles back on itself. The narration alone is worth the ticket.

But The knowingness can tip into smugness. If you hate being winked at by a film, this will irritate you badly.

Shallow Grave1994

Three Edinburgh flatmates discover a dead man in their spare room stuffed with cash. Stylish, tense, and genuinely scary about what ordinary people do when tempted. Early Boyle at his most inventive.

But The plotting becomes increasingly implausible as desperation mounts. You have to surrender to the escalation or it falls apart.

The Gentlemen2020

A cannabis kingpin plans his exit from the London underworld, but everyone—lawyers, rivals, journalists—has other ideas. Slick, funny, packed with great actors doing character work. Peak Guy Ritchie excess.

But The style overwhelms substance. It's more interested in showing off than saying anything. Over two hours of flourish exhausts goodwill.

Nine Queens2000

Two con artists in Buenos Aires pull increasingly audacious schemes on the same day. Argentine crime cinema at its most playful. The twists land, the chemistry sings, and it moves like a heist should.

But Subtitles and South American crime slang create a learning curve. The final revelation divides viewers harshly.

The Killing2011

Danish police procedural with genuine grit and patience. A young girl's murder fractures a city across a twenty-episode investigation. Character-driven, brutal, and it trusts you to care about the small moments.

But Glacially paced and genuinely bleak throughout. The fog, the cold, the dread—some find it oppressive rather than engaging.

Snatch2000

Stolen diamonds, Cockney gangsters, boxing promoters, and Romani travellers collide across London in interconnected mayhem. Less refined than Lock Stock, but funnier and more generous with its ensemble weirdness.

But The plot barely matters; it's all surface and attitude. If you need coherence or character development, this will feel hollow.

Rififi1955

The template for every ensemble crime caper. Tuesday is built on the same principle—multiple criminals, bad timing, a simple job gone sideways—but Rififi invented it with discipline and zero humor.

A legendary French heist film where a retired safecracker plans one final job with a crew of misfits. Tense, stylish, and influential on every heist that followed. A twenty-minute silent robbery sequence that still holds your breath.

But Black and white, 1955 Paris, subtitled. The pacing is deliberate and the emotional register is cold. Modern audiences often find it slow.

Four Rooms1995

Like Tuesday, it's about parallel crimes and schemes converging on the same location by accident, but Four Rooms plays it absurdist and playful rather than heist-procedural, showing how the same premise can tilt into pure farce.

A bellhop's night in a seedy LA hotel intersects with multiple bizarre guests, criminals, and schemes across four interconnected stories. Oddly charming low-budget chaos with Quentin Tarantino and Robert Rodriguez playing with constraint and coincidence.

But Deliberately artificial and theatrical. The budget shows. Some view it as willfully amateurish rather than refreshingly low-stakes.