September 12. Canadian theatrical release followed on 2 November 2007. The film was also screened as part of a special series at the Museum of Modern Art on 14 and 18 March 2008. It was acquired for the United States by THINKFilm, and was released May 9, 2008, after its premiere at the AFI Film Festival in Los Angeles in November 2007. The film was a low-budget production, and grossed $33,183 domestically in 4 theaters. Critical reception Review aggregator website Rotten Tomatoes reports that 42% of 38 critic reviews are positive for the film, with an average rating of 5.1/10. The website's critical consensus reads: "Splitscreen intensive and at times ambiguous, this Elliot Page vehicle cum psychodrama takes audacious risks that may confuse." Metacritic calculated a weighted average score of 54 out of 100, based on 10 reviews, citing "mixed or average reviews". Boston Herald called the film's visuals "fascinating and ambitious", and the narrative is "like origami, folded and refolded upon itself", adding that it "should be seen by anyone interested in the art of film and the art of bravura film acting. It is also a further reminder that Page is the real thing. But we knew that already." A.O. Scott of New York Times wrote "In the hands of a more literal-minded filmmaker The Tracey Fragments might well have been dreary and unbearable, a chronicle of florid self-pity justified by arbitrary cruelty. Instead it is fierce, enigmatic and affecting. Some of this has to do with , who seems to be everywhere these days in the wake of Juno (which was filmed after The Tracey Fragments) and who brilliantly embodies precocious intelligence under various forms of duress. While the full range of trauma that befalls Tracey does not seem entirely plausible, is never less than convincing." V.A. Musetto from New York Post applauded McDonald's "high-octane approach" and Page's "daring performance". Peter Howell of Toronto Star was positive toward the film, praising Page's performance and labeling the film as "a tough watch, but a rewarding one for those open to experimentation." The Playlist started their review by writing that the film "is going to be polarizing in the blogosphere, not so much for the splintered film techniques, but more because of hot-button topic actress whose role in Juno, seemed to provoke a lot of ire of many a blogger and armchair critic who evidently hates teen girls that