Going into "Personal Velocity," people appeared lethargic, grumpy and vexed. It was early in the morning on a cold, overcast Monday, and it was obvious that most of us had not had our coffee yet. It seemed as if the 86 minutes of "Personal Velocity: Three Portraits" was going to be yet another angsty diatribe against the male species; but in reality, it was a distinctive and creative portrayal of three women's lives that connect in a subtle, yet effective way. "Personal Velocity" is based on director Rebecca Miller's (actress in 1992's "Consenting Adults") short novel by the same name, and is being hailed as one of the year's best film adaptations. Accordingly, being the renowned playwright Arthur Miller's daughter has definitely bestowed upon her a flair for drama and a talent for writing.

"Personal Velocity" is a beautifully made expose of three women in search of love, a sense of self, personal freedom, and true satisfaction. Half an hour is delegated to each woman -- Delia (Kyra Sedgwick of "Phenomenon"), Greta (Parker Posey) and Paula (Fairuza Balk of "The Waterboy"). Each has diverse life circumstances and individual qualities, but all share a passion for living and a yearning for a happier existence.

Delia, former high-school "slut" and the battered mother of two, seems to have little in common with Greta, the successful Jewish New York editor having an affair with sexy client. Gretta in turn has little in common with Paula, the 20-something rebel who ran away from her broken home and subsequently became homeless and then pregnant.

Miller weaves these stories together exceptionally and shows that these women are more similar than one would realize to each other and to females everywhere.

The acting was the strongest aspect of "Personal Velocity." Casting Sedgwick, Posey and Balk proved precise, as every woman added their personal touch and dynamic to the roles. None of the three outshined another, but instead their representations of troubled souls blended together perfectly into an inspired piece of art.

Furthermore, the supporting characters that flow in and out of the women's lives add richness and depth to the film. Joel de la Fuente (TV's "Law and Order") as Thavi Matola, the sophisticated, passionate writer who seduces Greta and newcomer Lou Taylor Pucci as Kevin, the lonely, timid runaway that Paula picks up while driving, are sincere and accurate in their performances.

The cinematography of "Personal Velocity" also caught the audience's attention and held on. The camera shots and perspectives continually changed and developed throughout the film. Close-ups and aerial views were a couple of examples of the many different clever tactics utilized. This, along with the poignant acting, combined to produce an intense, moving movie that was a pleasure to experience.

There are not many negative aspects of this movie. The only complaint one might have is the seeming randomness of the three stories in relation to each other. I think that this technique was effective, though, because Miller did not attempt to "clean up" the stories and link every aspect of the women's lives. It left ambiguity and a chance for people to make their own connections. The audience could delve deeper into the portrayals, and for this praise should be offered to Miller, not criticism.

The almost impossible feat of cheering up the grouchy audience was achieved with the 86 minutes of "Personal Velocity." It was an endearing, honest film that examined women in relation to our culture today. Go see it -- you won't be disappointed.