Those wondering if movies still have power to shock need only watch the first few minutes of Rebecca Miller's lovely, free-swinging film Personal Velocity.
Personal Velocity (2002)
Tomatometer
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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.
Runtime: 2 hrs 5 mins
Genre: Dramas
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
Reviews for Personal Velocity
With tightly organized efficiency, numerous flashbacks and a constant edge of tension, Miller's film is one of 2002's involvingly adult surprises.
Even with the explanatory voiceovers, these episodes feel truncated and unsatisfactory.
My thoughts were focused on the characters. That is a compliment to Kuras and Miller. If I had been thinking about the visual medium, they would have been doing something wrong.
Velocity represents everything wrong with ''independent film'' as a commodified, sold-out concept on the American filmmaking scene.
Featuring decent to strong performances and stories, the film has its moments. Yet, the segmented/fragmented format undermines the effort, no matter the loose, connective theme.
Facile and simplistic, spurting out the same hyper-feminist platitudes that I thought had been long abandoned
The actors navigate tough characters through emotional mayhem with such intense determination it's a shame they're undercut by the intrusive voice-over.
Taken individually or collectively, the stories never add up to as much as they promise.
[Miller's] heavy use of narration has a negative impact on her film, making it ofttimes feel like an audio book with pictures
Makes you feel like you're reading a great compendium of short stories in which vibrant images literally burst from the pages.
I read the short stories by Rebecca Miller, and she did a wonderful job of bringing these stories to the screen.
A deeply interior "chick triptych" whose ideas and intent don’t play well with film form.
Miller gets away with stuff that other filmmakers are crucified for (too much narration, that pretentious title) because her characters are so well observed.
A movie that sets certain strict parameters for itself in terms of time, dramatic focus and technique, and then works modest but striking wonders within those self-imposed limitations.
Artfully shot on digital video, Miller's film benefits from an improvisational approach that allows three solid actresses a chance to invent their characters as they go along.
A drama that HBO would be proud to present on cable -- a drama that's often insightful and occasionally powerful but is still, at heart, a piece of television and not a work of film.
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