Uma Thurman - Page 7 (2024)

The “Pulp Fiction” actors Uma Thurman and Samuel L. Jackson reunite in a bloody saga that is past its “best by” date, but includes an all-star supporting cast.

By Glenn Kenny

Even the over-the-top ones, like Uma Thurman’s Southern drawl in “Red, White & Royal Blue,” can be awfully fun.

By Kyle Buchanan

Julia Hart’s bubbly sequel picks up the story in summertime and reframes around Stargirl, a character who in the first movie was auxiliary by design.

By Natalia Winkelman

The actress and opera star come together in “Penelope,” a Homeric monodrama by André Previn and Tom Stoppard, at Carnegie Hall.

By Joshua Barone

critic’s notebook

A sumptuous Ibsen revival starring Uma Thurman and a knockout premiere by Adam Bock close the Williamstown season with a metaphysical “boo!”

By Jesse Green

The protest movement’s cultural touchstones include Japanese anime, “The Hunger Games” and “Les Misérables.”

By Katherine Li and Mike Ives

Among the performers who will journey to the Berkshires: Uma Thurman, Mary Steenburgen, S. Epatha Merkerson and Jesse Tyler Ferguson.

By Lauren Messman

Matt Dillon may play a serial killer in Lars von Trier’s latest movie, but its real subject seems to be its director.

By Wesley Morris

In Rodrigo Cortés’s teen horror movie, a boarding school has haunts along its hallways.

By Teo Bugbee

The most recent runways saw elaborate dresses, A-list models and a Vetements mega-fan.

Modern Love

This week, the actress tells the story of a family’s shattering secret.

By The New York Times

From p*rn’s effect on teenagers to mutant crayfish clones to Jimmy Buffett wearing shoes most of the time and Uma Thurman speaking out, we’ve articles for all comers.

By Kaly Soto

The director said he regretted making the actress perform a dangerous stunt. The interview led to increased scrutiny of his past defense of the director Roman Polanski’s unlawful sex with a 13-year-old.

By Jonah Engel Bromwich

From the creator of “House of Cards,” a Washington-based “Dangerous Liaisons” that isn’t.

By Jesse Green

In a sharply worded Instagram post, Ms. Thurman had a message for the producer, who has been accused of sexual assault: “I’m glad it’s going slowly — you don’t deserve a bullet.”

By Christine Hauser

Hollywood’s “contempt and dismissiveness” toward women have led her to Broadway. In “The Parisian Woman,” she’ll be onstage for every minute of every scene.

By Alexis Soloski

Ms. Thurman says this political drama, by Beau Willimon, the creator of “House of Cards,” is contemporary, sharp and witty.

By Michael Paulson

Exclusive

The actress is putting up for sale her duplex at 1 Lexington Avenue, the prewar co-op building where she lived for several years.

By Vivian Marino

Carpetbagger

The honors, presented by the Independent Filmmaker Project, kick off the awards season but they aren’t likely to predict who will take home the gold in February.

By Cara Buckley

The weeklong bacchanal of global capitalism known as the Cannes Film Festival just keeps getting bigger and bigger.

By Jacob Bernstein

Movie Review

In “Nymphomaniac: Volume I,” directed by Lars von Trier, Charlotte Gainsburg plays a woman who endures suffering in the pursuit of sex.

By Manohla Dargis

The presence of Prince William helps the Bafta ceremony in London break out of the season’s familiar pattern.

By Stuart Emmrich

Sinosphere

The iconic yellow jumpsuit worn by the martial artist Bruce Lee in the film ‘‘Game of Death’’ is being auctioned in Hong Kong on Thursday.

By Neil Gough

On the Runway

Naomi Campbell walked the runway for Versace to kick off couture week in Paris.

By Stuart Emmrich

On the Runway

As the lights dimmed at Theyskens’ Theory show on Monday afternoon, a grizzled Olivier Zahm slipped into his seat near Terry Richardson, who was giving the photographers his trademark thumbs up.

By Bee-Shyuan Chang

Scene City

A screening of “Django Unchained” brings profanity, gore and lots of stars enjoying them.

By Jacob Bernstein

Quentin Tarantino fetes his latest movie at a star-filled screening.

Jacob Bernstein

On the Runway

Many of Denis Piel’s images, which began captivating the fashion world in the early 1980s, are gathered in “Denis Piel: Moments,” to be published next month by Rizzoli.

By Ruth La Ferla

Movie Review

In “Bel Ami,” an adaptation of the Guy de Maupassant novel, Robert Pattinson plays a manipulative journalist who rises through Belle Époque Paris by exploiting a series of women.

By Stephen Holden

Scene City

Carine Roitfeld brings the Paris collections to a close with a night of revelry fit for a vampire (or two).

By Eric Wilson

Movie Review | 'Ceremony'

A lopsided love triangle emerges when a privileged pair, portrayed by Uma Thurman and Lee Pace, find their wedding has been crashed by Michael Angarano.

By Stephen Holden

Movie Review | 'Motherhood'

You’ll need something to occupy your thoughts while watching this film, which seems to suffer from its heroine’s tendency toward distraction.

By A.O. Scott

Film

On screens big and small this season mothers are out in force, their imperfections and frustrations leading the way.

By Lisa Belkin

TimesVideo

A. O. Scott looks at "Gattaca" and examines the fate of the individual in a highly regulated social order.

Gabe Johnson

They came, we saw, they conquered. Seven originals who were never the same after Cannes.

By Jason Gay

Celebrities enter and leave the Manhattan criminal court in different and interesting ways.

By John Eligon

Questions for Robert Thurman

The Buddhist scholar talks about what the Dalai Lama needs from China’s president, how Quentin Tarantino really feels about violence and learning to love Dick Cheney.

Interview by Deborah Solomon

Jack Jordan was sentenced to three years’ probation for stalking the actress Uma Thurman. He was ordered to undergo psychiatric treatment.

By John Eligon

The mother of the man convicted of stalking the actress Uma Thurman recalls her son’s better days.

By Anemona Hartocollis

A University of Chicago graduate turned drifter said that he was engaged “in a game of cat and mouse” with the actress.

By Anemona Hartocollis and John Eligon

A jury in Manhattan decided that a man had tried too hard to meet Uma Thurman and sent her one too many love letters.

By Anemona Hartocollis

Jury deliberations began after closing arguments in the trail of Jack Jordan, the man accused of stalking the actress Uma Thurman.

By Anemona Hartocollis

The man accused of stalking Uma Thurman testified that he thought he had played a flirtatious “cat and mouse game” with her, but that he had never meant to scare her.

By Anemona Hartocollis

Little pieces of torn paper, a dollar bill and a picture of a headless bride fell out of an envelope the actress told a jury she received from a suspected stalker in 2005.

By Anemona Hartocollis

The parents of the actress Uma Thurman explained the details of a nearly yearlong psychological nightmare that engulfed the Thurman family.

By Anemona Hartocollis

Movie Review | 'The Life Before Her Eyes'

“The Life Before Her Eyes” plays an irritating game of narrative hide-and-seek, continually doubling back on itself to revisit the trauma from which all else evolves.

By Stephen Holden

Possessed

Robert Thurman is no ordinary man, and his kundan 22-karat ring is no ordinary ring.

By David Colman

The designer Valentino has been busy this weekend reaping the rewards of 45 years of being Rome’s most glamorous name.

By Cathy Horyn

FILM REVIEW

The shaky comedy ''My Super Ex-Girlfriend'' must have been a dream to pitch: ''Fatal Attraction'' meets ''Wonder Woman,'' but funny. The casting seems as if it should have been equally breezy, with Uma Thurman doing double duty as a New York neurotic, Jenny Johnson, and a secret superhero, G-Girl, who flies through the air putting out fires, though only when her drab brown hair turns a costly shade of Hamptons blond. Toss in Luke Wilson as the nice guy who says and does all the right things and Rainn Wilson as the second banana who says and does all the wrong ones. Stir, or, in the case of the director Ivan Reitman, of ''Ghostbusters'' fame, hope for the best.

By Manohla Dargis

Movie Review

Uma Thurman does double duty as a New York neurotic, Jenny Johnson, and a secret superhero, G-Girl, in a shaky comedy directed by Ivan Reitman.

By Manohla Dargis

FILM REVIEW

The Broadway production of ''The Producers,'' with Nathan Lane and Matthew Broderick as Max Bialystock and Leo Bloom, was apparently such a sensational show that a great many people were willing to pay $100 to see it. Judging from the show's success, they seem to have gotten their money's worth, which raises a fascinating question, as much an economic as an aesthetic puzzle. Here is a movie version of the musical, with the same director (Susan Stroman), the same book and lyrics (by the tireless Mel Brooks, aided on the book by Thomas Meehan) and much of the same cast. Tickets cost a tenth or less of what the best seats did on Broadway, with the added value of Uma Thurman doing a Swedish accent in high heels and a short dress and Will Ferrell as a nutty Nazi. So why isn't this a bargain?

By A. O. Scott

Boldface

Springtime for Halibut The red carpet for the premiere of ''The Producers'' on Sunday night at the Ziegfeld was deeply cold and smelled vaguely of fish. The reporters stamped their frozen feet -- except for GEORGE WHIPPLE, who wore enormous duck boots and boasted that his feet were actually sweating -- and discussed the smell. Alas, no one could explain it. Nevertheless, as everyone knows, ''The Producers'' stars NATHAN LANE and MATTHEW BRODERICK as two cowboys who meet in the sweeping grasslands of Wyoming -- wait, wrong press release. Apparently, it is based on some musical, or another movie or something.

By Campbell Robertson

HOLIDAY MOVIES

IT'S a scheme so crazy it just might work. Step 1: Make a movie about a pair of disreputable Broadway producers out to make a killing by opening ''a surefire flop'' and stealing their investors' money. Step 2: Turn said movie into a musical and open it on the real Broadway. Step 3: Turn around and make a film of the musical of the film, adding a couple of Hollywood names, about $50 million in production frills and a healthy dollop of faith in the power of old-school musical comedy.

By Jesse McKinley

FILM REVIEW

A O Scott reviews movie Prime, written and directed by Ben Younger and starring Uma Thurman, Bryan Greenberg and Meryl Streep; photos (M)

By A. O. Scott

FALL FASHION ISSUE

SAY goodbye to the casual California surfer chick, with her tousled beach-worn hair, sun-kissed skin and slick shiny lips. The old-style Hollywood glamour queen, all lacquered eyes and perfectly rouged mouth, is making a comeback for fall. A highly polished ultrafeminine look featuring full makeup and sleek hair started out on the fall fashion runways, where stylists painted dramatic faces on models to match dark-hued clothes accessorized with fur and crocodile handbags. But the makeup artists who create cosmetics for real women say that the new jewel-tone lipsticks and liquid eyeliners hitting stores this month have more to do with real life than with high fashion.

By Natasha Singer

Hollywood on the Hudson, it is not. In truth, the new $118 million Steiner Studios overlooks the East River. But the movie factory's growing presence on the Brooklyn waterfront is starting to produce ripples far beyond that borough.

By Glenn Collins

ON television, Gap's new pitchwoman caresses a microphone and croons ''The Right Time,'' an old Ray Charles ballad. Dressed in a tank top, beads and white jeans, she radiates a neo-hippie charm. She is Joss Stone, the 18-year-old soul singer from Devon, England, who has a best-selling CD and three Grammy nominations under her paisley silk belt. Now Gap is about to find out whether her youthful appeal will play to a broader market. It has signed the lissome Ms. Stone to replace its previous ''it'' girl, Sarah Jessica Parker, whose nine-month stint as the face of the company coincided with a relentless decline in sales.

By Ruth La Ferla

FILM REVIEW

Manohla Dargis reviews movie Be Cool, directed by F Gary Gray and starring John Travolta, Uma Thurman and Christina Milan; photo (M)

By Manohla Dargis

TELEVISION: THE CHARACTER

Actor Bryan Greenberg reflects on his eponymous character on George Clooney's HBO television program Unscripted; show details lives of struggling actors; photo (M)

By Kate Aurthur

FILM REVIEW

When a writer-director — Cameron Crowe or Paul Thomas Anderson, for example — is in love with his characters, the fun comes when the filmmaker lets them gab away, inadvertently revealing themselves. The joy when Quentin Tarantino's creations speak is the opposite. Despite their hilariously florid rapping, his folks are also incredibly cagey: they never give the entire game away. This shrewdness is the template for the long dialogues in "Kill Bill, Vol. 2," the most voluptuous comic-book movie ever made. In this deliciously perverse picture, everything is operatic, including the despair and the pauses. Uma Thurman, whose speaking voice has a lyric, teasing quality, is just the performer to get the mordant slyness across. Mr. Tarantino's movies are also about loss and betrayal, and "Vol. 2" is a double-burger helping of those motifs. It is rich, substantial and sustained, yet also greasy kids' stuff, a wrapper filled with an extra large order of chili fries, stained with ketchup, salt and cheese. "Vol. 1" was all set-up: the longest first act in movie history, staged and edited like a series of Pablo Ferro trailers. "Vol. 2" is the second and third acts in one convenient serving, told in a languorous flashback-within-a-flashback style with airy long takes. Unlike the 100-meter high-hurdles of "Vol. 1," this sequel is a marathon, with hills and long stretches of flatland. As in the first film, the Bride (Ms. Thurman) is on a mission of vengeance after being shot and left for dead; she's out to murder her former colleagues led by Bill (David Carradine). She calls her journey a roaring rampage of revenge. The movie, which quivers with a geek-adrenaline rush, in some ways feels like its time may have passed; this feels likes a movie Mr. Tarantino might have made before "Pulp Fiction." — Elvis Mitchell

By Elvis Mitchell

Boldface Names column reports on charity benefit for Room to Grow at Christie's, with Uma Thurman as host, and actor Dominic Chianese's appearance at benefit for Starlight Foundation in New York City (M)

By Anthony Ramirez

FILM REVIEW

John Woo directing a Philip K. Dick adaptation — that certainly sounds like the opposite of coal in the stocking. Or at least it might have sounded that way in 1990. Since then, Dick's posthumous legacy has suffered through movies like "Impostor," and Mr. Woo made "Windtalkers." But their new meeting of temperaments is surprisingly adept, given that it's basically a dumb movie about smart people. This smooth but bland thriller may be the best we could possibly expect from such a collaboration, especially when Ben Affleck — an actor whose becalmed exterior reflects an inability to project an inner life — is added to the mix. He plays Michael Jennings, a hotshot inventor who steals the ideas and properties of other corporations, and refines them for competitors. For legal reasons, Michael gets his mind wiped clean of the theft by a dangerous medical process that nearly boils his brain. This procedure also eliminates Michael's memory of the entire period he spent at work — all for a paycheck. When a new, less dangerous procedure comes along — one that can safely do away with three years, instead of a few months — Michael is invited by an old friend to get involved in a project that could potentially change the world, and net Michael an eight-figure income. He will come out three years later with a larger bank balance and no idea of his accomplishments. It's here that the sleek, ascetic paranoia that Dick triggered in his short story "Paycheck" surfaces: the invasion of the mind and soul. — Elvis Mitchell

By Elvis Mitchell

Joyce Wadler interviews Hugh Grant at opening of his movie Love Actually; also speaks with Isabelle Huppert at French Institute in New York City, actress Uma Thurman Idina Menzel, who plays Wicked Witch of the West in musical Wicked (M)

By Joyce Wadler

FILM REVIEW

Quentin Tarantino's fourth movie, his first in six years, is astonishingly violent, intermittently fascinating and sometimes tedious. This may be the picture's most serious flaw, since it comes from a man whose worship of action movies from all over the world (but especially Asia) is evident in every frame. Also evident is his obsession with Uma Thurman: by far the most emotionally charged relationship in the movie is the one between the director and his star, who functions as his muse, idol, alter ego and fetish object. Her character, the Bride, is a former assassin whose former lover (that would be Bill) tried to kill her on her wedding day. In this film, the first installment in a two-part revenge epic, the Bride wakes up from a 4-year coma and goes after the hired swords and guns who attacked her. Most of the exposition has been left for Volume Two; this one is an anthology of increasingly violent sequences, some sickening, some rather thrilling, that culminates in a Tokyo nightclub bloodbath during which Lucy Liu, playing a petite yakuza boss, shows off her Japanese, and also (quite literally) her brains. — A. O. Scott

By A. O. Scott

Joyce Wadler column interviews Uma Thurman and others at opening of Kill Bill: Volume One (M)

By Joyce Wadler

COVER STORY

Article on film Hysterical Blindness, directed by Mira Nair and starring Uma Thurman and Juliette Lewis, to air on HBO; photos (M)

By Celestine Bohlen

TV WEEKEND

Caryn James reviews HBO movie Hysterical Blindness, directed by Mira Nair; Uma Thurman and Juliette Lewis star; photo (M)

By Caryn James

FILM REVIEW

Stephen Holden reviews three-actor movie Tape, directed by Richard Linklater; Ethan Hawke, Robert Sean Leonard and Uma Thurman star; photos (M)

By Stephen Holden

UMA THURMAN

James S Berkman letter comments on April 22 profile of Uma Thurman, saying that Maggie Verver, and not Thuman's character, Charlotte Stant, is heroine of Henry James's The Golden Bowl

FILM REVIEW

This meticulous, stately Merchant Ivory screen translation of Henry James's great 1904 novel emphasizes the book's tremulously ambivalent vision of the emerging American century. If the psychological intricacies of James's interior monologues can't fully be translated into dialogue without its sounding a bit like a soap opera, the story of two couples' intertwined secrets and lies, which destroy their harmony, conveys a mournful sense of loss. Nick Nolte and Kate Beckinsale are the art-collecting robber baron Adam Verver and his beloved daughter, Maggie, and Uma Thurman (who is too gawky) and Jeremy Northam their impoverished spouses, Charlotte Stant and Prince Amerigo, who marry for money and betray their mates. -- Stephen Holden

By Stephen Holden