• Genre: Drama
  • Release Date: 05/02/2008
  • Running Time: 108 mins
  • Director: Jeremy Podeswa
  • Cast: Stephen Dillane, Rade Sherbedgia, Rosamund Pike, Ayelet Zurer, Robbie Kay, Ed Stoppard, Rachelle Lefevre, Nina Dobrev, Themis Bazaka, Diego Matamoros
  • Producer: Robert Lantos
  • Writer: Anne Michaels, Jeremy Podeswa
  • Distributor: IDP Distribution
  • Offical Site: Click Here
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Box Office

  1. Hancock, 66.0 million, 107.3 million
  2. WALL-E, 33.4 million, 128.1 million
  3. Wanted, 20.6 million, 90.8 million
  4. Get Smart, 11.1 million, 98.1 million
  5. Kung Fu Panda, 7.5 million, 193.4 million
  6. The Incredible Hulk, 5.0 million, 124.9 million
  7. Indiana Jones and the Kingdom of the Crystal Skull, 3.9 million, 306.6 million
  8. Kit Kittredge: An American Girl, 3.6 million, 6.1 million
  9. Sex and the City, 2.3 million, 144.9 million
  10. You Don't Mess With the Zohan, 2.0 million, 94.8 million
Movie Title, Weekly Earnings, Total Earnings

Fugitive Pieces

Canadian poet Anne Michaels’s beautiful 1996 novel—about a Jewish writer immobilized by the memory of his Polish family’s murder at the hands of the Nazis—distills tragedy into grief, terror, and a wary romance set on a picturesque Greek island. So far, so cinematic. But Fugitive Pieces is also a cerebral excavation into history, written in lush cadences meant to be read or recited. It may be unfilmable, and in pursuit of sensitivity, Canadian writer-director Jeremy Podeswa hollows out the novel’s urgency in favor of a vaguely spiritual morbidity. As Jakob Beer, a writer so traumatized by his own history and that of six million others that he can barely function, Stephen Dillane (a fine actor, if barely plausible as a Jew) mopes around in mid-century hair, looking generically pained in between flashbacks to Jakob’s youth in Greece and Toronto, where he lived after being rescued by a Greek geologist (Rade Serbedzija) nursing his own losses. Stolidly matching lighting with mood and place—here’s Poland in distressed blue and gray, Canada in rain-washed slate, Greece basted in gold or lashed by temperamental Mediterranean storms—the movie dithers along, tiptoeing tastefully in and out of flashback and explanatory voice-over, until a voluptuous scholar (Ayelet Zurer) shows up, bearing redemption. But whereas Michaels subverted her novel’s rosy ending, Podeswa leaves us with a glossy future plucked from a Harlequin assembly line. — Ella Taylor

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