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Personal Velocity (2002)
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Reviews Counted:99
Fresh:68
Rotten:31
Average Rating:6.5/10
Consensus: Uneven, but a keenly observed and well-acted film about three women's lives.
Rated: R [See Full Rating] for brief violence, some strong sexuality and language
Runtime: 2 hrs 5 mins
Genre: Dramas
Theatrical Release:Nov 22, 2002 Limited
Box Office: $623,323
Synopsis: Three very different women confront life-changing decisions in this film derived from Rebecca Miller's book of short stories. Each woman has reached a turning point in her life. Delia (Kyra... Three very different women confront life-changing decisions in this film derived from Rebecca Miller's book of short stories. Each woman has reached a turning point in her life. Delia (Kyra Sedgwick) finally takes a stand and leaves her abusive husband, but still has to find a way to regain her power and life; Greta (Parker Posey) achieves more professional success than she ever imagined, but has fidelity issues when it comes to her marriage and her lovable but dull husband; and, on the heels of a tragic accident, Paula (Fairuza Balk) has to contend with an unplanned pregnancy and the status of her personal relationships. Shot in digital video, the film is peppered with various effects and editing that achieve an intimate look and feel. Sedgwick is exceptional and wholly believable as gritty, tough-as-nails Delia. Both Posey and Balk are well cast as their respective characters, with Poseys vignette infusing some humor into the trilogy despite its serious overtones, and Balk bringing an indepth sensitivity to Paula. The film also stars David Warshofsky, Tim Guinee, Rob Leibman, and Wallace Shawn and is narrated by John Ventimiglia. PERSONAL VELOCITY is written and directed by Rebecca Miller, daughter of famed playwright Arthur Miller. [More]
Starring: Fairuza Balk, Parker Posey, Kyra Sedgwick, John Ventimiglia
Starring: Fairuza Balk, Parker Posey, Kyra Sedgwick, John Ventimiglia, David Warshofsky, Nick Cubbler, Nicole Murphy, Brian Tarantina, Laura Fanelli, Mara Hobel
Director: Rebecca Miller
Director: Rebecca Miller
Screenwriter: Rebecca Miller
Producer: Lemore Syvan, Gary Winick, Alexis Alexanian, Jonathan Sehring, Caroline Kaplan
Composer: Michael Rohatyn
Studio: MGM/UA
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Reviews for Personal Velocity
You can't really blame Miller for being in love with her own words, but this film is more like a slide show accompanied by an audio book than a movie.
A trilogy of stories about women on the edge that features no less than three rotten dads.
One of the most highly-praised disappointments I’ve had the misfortune to watch in quite some time.
The whole comes across more like a Lifetime special than an insightful examination of the women's lives.
The whole film has this sneaky feel to it %u2013 as if the director is trying to dupe the viewer into taking it all as Very Important simply because the movie is ugly to look at and not a Hollywood product.
A stuffy bore, filled with amateurish psychological 'insights' that make it seem like a more-ambitious -- and infinitely more pretentious -- Lifetime channel cable movie.
None of the three stories has much narrative breadth ... but there is depth.
...works like a short story, or even poetry, in that it shifts our emotional center of gravity through a finely calibrated vernacular of gesture and language.
Comes across like an audio book to which photos have been rather unnecessarily added.
Confuses its message with an ultimate desire to please, and contorting itself into an idea of expectation is the last thing any of these three actresses, nor their characters, deserve.
The acting is uniformly good by the three women stars, Kyra Sedgwick, Parker Posey, and Fairuza Balk.
Together, Miller, Kuras and the actresses make Personal Velocity into an intricate, intimate and intelligent journey.
Personal Velocity seems tailor-made for art-house audiences. It still cradles that short-story essence...but takes it to a place that stretches just beyond the page.
It's a short film, but it takes us deep inside each woman's head; by the end of each segment, we can look at each character's face and know what she's thinking.
Very psychoanalytical -- provocatively so -- and also refreshingly literary.
This beautifully realized film retains the essential qualities of short fiction: precision, compactness, a focus on epiphanic moments.
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