Closeup- Beth in Car Door Window-Door handle opening as someone gets in-Closeup of his handsome face--Beth: Can you excuse me, I have to stop for donuts. Closeup of Shop Door, Beth walking in then ignition key turning as hitch hiker moves her car. Beth looks away. Beth: Hurry with that couple of dozen, I'm pregnant. She carries the donut box out, gets into the car. The Hitch Hiker's hand grabs a donut from the box, Closeup of a donut hole. His mouth munches one down. Cut to Rain falling on car back window, steam rising and groans from within while he makes out with her. Later, interior, apartment, Beth's hand is seen picking up a script. The cover page reads, "Never use close camera angles or other devices so often it makes the viewer lose interest in the characters and story. Try to film a movie the way you'd like a live audience to watch it. Grade F, see me. Professor Hollywood Hack."
Personal Velocity (2002) 1080p YIFY Movie
Personal Velocity (2002) 1080p
Personal Velocity: Three Portraits is a movie starring Kyra Sedgwick, Parker Posey, and Fairuza Balk. Three women's escapes from their afflicted lives. Each struggles to flee from the men who confine their personal freedom.
IMDB: 6.50 Likes
The Synopsis for Personal Velocity (2002) 1080p
A tale of three women who have reached a turning point in their lives. Delia is a spirited, working-class woman from a small town in New York who leaves her abusive husband and sets out on a journey to reclaim the power she has lost. Greta is a sharp, spunky editor who is rotten with ambition. To spite the hated infidel ways of her father, she has settled into a complacent relationship and is struggling (not too hard) with issues of fidelity to her kind but unexciting husband. Finally Paula, who ran away from home and got pregnant, is now in a relationship she doesn't want. She's a troubled young woman who takes off on a journey with a hitchhiker after a strange, fateful encounter on a New York street.
The Director and Players for Personal Velocity (2002) 1080p
The Reviews for Personal Velocity (2002) 1080p
Reasons I couldn't watch for 10 minutesReviewed byHollywoodshackVote: 3/10
Writer and director Rebecca Miller(daughter of legendary playwright Arthur) patches together three stories of three different women for this film and the movie itself is quite an intriguing curiosity for it.
Delia(Kyra Sedgwick,familiar yet still distinctive here)is an abused housewife and mother who's only known really one thing about herself-her sexuality-and has to find a way out of her sad,low-esteemed predicament,while wondering if she should use her sexuality or not; Greta(Parker Posey,for whom the type of roles she could inhabit are practically limitless) is a career-driven woman whose marriage is peaceful but uninspiring; and Paula(Fairuza Balk,whose angry eyes and wild visage is an ironic contrast to the scared character she's playing),has escaped a horrifying accident and now aids a runaway teen,all the while mindful of the fact that she's just learned she's pregnant.
I must say I was quite pleased with elements of the movie:the narration,the anthology of it and,of course,the actors,who all are very fine here. But I suppose what left me dry here was the way these stories played out. I will not go into any detail so as to inadvertently throw out spoilers,but it to me felt like these stories were resolved in ways that seemed only evident to the writer herself. I read one reviewer describe these tales as sorts of "Women's lib" stories,and that may be true,and not being a woman myself and certainly not a feminist,I suppose if these endings seemed lost on me,well,that's my problem I suppose.
Not a movie for those who absolutely NEED their films to have a sort of set,rising-plot/climax/denouement model in order to digest their usage of 90 min to 2 hours of time,but I suspect that the film's creator doesn't really care about that. She set out to portray three ordinary yet intriguing characters and,for the most part,I feel like she succeeded.
Omigod this is a bad film! Despite the hugely pretentious premise of being "gritty realism" or some such equally annoying pseudo-intellectual nonsense, this is simply a grim, bleak, depressing, pointless exercise in human misery. The acting is fairly terrible all around (Balk, whom I usually love, doesn't know WHAT she's doing from one scene to the next, and Sedgwick acts with a serious of facial tics and grimaces that become all but unwatchable), for which you can mostly blame the script and the direction: In other words, blame Rebecca Miller. That there's so much raving about this movie only goes to show how vacuous and empty modern films are -- anything that pretends to have a little bit of meat on its bones gets the public way too excited for its own good. These might have been decent short stories, but Miller doesn't understand the difference between short fiction and short films. A story can create an atmosphere that can makes a so-called "open" ending acceptable -- sometimes. I say "sometimes," because in effect it's a grad-school literary device that many too many would-be writers deploy when they can't be bothered to follow a through-line or commit themselves to a real ending and because somebody gave them the idiotic idea that ambiguity was cool and artsy. But ambiguity on the screen is magnified to the 10th power by precisely the elements that make a film a film. In other words, a little goes a LONG way. Here, the characters are utterly unapproachable because their motivations are impossible to discern (a series of flashbacks and a painful narration -- by a male voice, for no particular reason -- do not help). Seriously, if you can figure out why ANY of these three characters does what she does, please write to me and explain. Better yet, write to Rebecca Miller because she's the one who really doesn't have a clue.