Uma-Thurman Movie Reviews

quentin tarantino has always made good movies..i mean, let's begin from pulp fiction. in my dvd player right now. it's a classic, which has more punchlines than the matrix has numbers.
the time cutting, the violence turned into the funny parts because of samuel l jackson's commentaries, and you can watch it over, and over, and over again.

reservoir dogs. pure brilliance. old story, you've heard it a billion times. a heist goes wrong, who's the snitch, etc. but cast amazing actors for each lead role, and you already have a good movie. let tarantino make it? the shots are beautiful.

let's get to the point tho, im too tired to talk about his other flicks. kill bill is so amazingly great because it contains a bunch of props, and lines, from other movies (the black mask for example - from "black mask"). it suddenly turns into anime, which i love, all the waterfall blood in the movie brings you back to those cheap, wu tang,fearless dragon movies...which is cool as hell..and the whole soundtrack is just samples compilated by the Rza, from the Wu-Tang Clan (one of my favorite groups). i cant wait for volume 2. thats basically it.

thanks quentin. never stop.ever.please.

This movie doesn't come out for months, and I still know its the best movie ever made. Snoogens

This is a movie that I could easily watch 100 times over... The acting is simply superb. All of the characters come off so multi-faceted.. Are they good? Are they bad? Are they all victims of circumstances? It's hard to say.

I love this movie because it makes me FEEL and it makes me THINK.. Goodness, how it frustrates me, but it does capture me. It is a really compelling film.

I am someone who watches movies for the characters more than the story-- I like to see them, and empathize with them. If you understand what I mean by that, then you'd probably like this film, because it is driven completely by the characters. Who they are and what they do determines what happens, and you cannot help but get pulled in. GREAT GREAT performances by John Malkovich and Glenn Close, as the scheming and manipulative former lovers, and by Michelle Pfeiffer, as the innocent woman they set out to corrupt..

You wouldn't necessarily think that an adaptation of an albeit famous 17th century French novel would make a relevant and fascinating piece of cinema... but it does.

The first thing that strikes you is how well the film is lit and shot. The period locations and costumes are visually sumptuous and perfect. Better yet, the acting entirely matches the skill of the direction that takes its method from the theatre - emotions are conveyed by expression and not dialogue. Glenn Close gives her best performance on celluloid as the scheming Madame de Merteuil, amorally hellbent on bending everyone to her will, no matter the method or the cost, and John Malkovitch is her perfect foil as the cynical hedonistic but world-weary Valmont. Michelle Pfeiffer engages our empathy as the tortured and manipulated target of Malkovitch's desire and Close's plotting.

The film is basically a morality tale, but one that fascinates in its exposure of ego, vanity, intrigue and the war between the genders, subjects that are timeless in their relevance, despite the period setting. The storyline, which sticks faithfully to the original novel, remains compelling throughout as we watch deceits within deceits take their tragic course. Whole-heartedly recommended - take your time over it, and enjoy.

Whoa! Before watching this one, round up a lover, some satiny red wine, and a box of Godiva chocolates. It's a sumptuous extravaganca celebracing wickedness, betrayal, decadence, depravity, and sexual intrigue among 18th-century French aristocrats. Glenn Close and John Malkovich, former lovers and highly evolved cynics prey upon the emotions of innocents Michelle Pfeiffer and Uma Thurman. But then Malkovich actually starts having human feelings for one of the women, thus betraying the terms of the 'liason,' and the Marquise (G. Close) begins plotting her revenge.
Yowie, don't miss it. But you've gotta be in the right mood, and you've gotta have the right person to watch it with.

Adapted from a 1782 novel by Choderlos de Laclos that Christopher Hampton turned into a successful stage play in the 1980s, Dangerous Liaisons is a wicked, finely tuned exercise in sharp dialogue and sharper performances. Glenn Close's bored aristocrat plays at social manipulation -- embarrassments, exposure, scenes and seductions -- while giving the people around her no more thought than chessmen or puppets. John Malkovich is both ally and enemy; the two are kindred spirits, but that realization simply makes them all the more wary of each other. Close asks Malkovich to seduce Uma Thurman, soon to be married to an enemy of Close's; at first he declines, but later accepts. Malkovich also wishes to conquer Michelle Pfeiffer, known throughout France for her modesty and piety. Close doesn't think Malkovich can do it -- and their disagreement becomes a contest. Let the games begin! And dizzying games they are -- both Close and Malkovich can, in the Bard's words, smile and murder while they smile, and cry content to that which grieves their hearts. Of course, when Malkovich actually falls wildly in love with Pfeiffer, the addition of real emotion to these hollow games makes everything go uncorrectably awry. Stephen Frears' direction is superb -- the design and lighting evoke simultaneous worlds of privilege and squalor, and while the nature of day-to-day life in 18th century France becomes readily apparent, it never becomes distracting. It's the actors, though, who truly carry this film to its remarkable success. Malkovich is rich as a cold chameleon who grows a heart only to lose it, Close towers as an icy manipulator who finds out she actually has feelings, and Pfeiffer is superb as a cautious, guarded woman whose trust of a rogue brings her both her greatest love and greatest ruin.

Whoa! Before watching this one, round up a lover, some satiny red wine, and a box of Godiva chocolates. It's a sumptuous extravaganca celebracing wickedness, betrayal, decadence, depravity, and sexual intrigue among 18th-century French aristocrats. Glenn Close and John Malkovich, former lovers and highly evolved cynics prey upon the emotions of innocents Michelle Pfeiffer and Uma Thurman. But then Malkovich actually starts having human feelings for one of the women, thus betraying the terms of the 'liason,' and the Marquise (G. Close) begins plotting her revenge.
Yowie, don't miss it. But you've gotta be in the right mood, and you've gotta have the right person to watch it with.

This is truly a terrific film. Straight from the pages of the play's script and expertly played by Close, Pfieffer, Malkovich, and Reeves. So well played. these actors all divinely understood their characters and it shows. The film work is top notch. This is a clean, unfettered flick. Watch and enjoy.

I think this movie is slightly overrated. The acting is not bad, camerawork not bad, but it's not excellent either. The dialogs are not really realistic -too many functional dialogs- and most characters are quite 'flat'. Don't understand me wrong, it's not a bad movie, but it's moralistic undertone probably caused it to become slightly overrated (just like movies like American History X).

Many science fiction films have a major flaw - their total lack of appeal to a broad range of people - yet 'Gattaca' succeeds on many levels. In we're introduced to Vincent (Ethan Hawke), a man of natural birth (or an 'in-valid') whose life expectancy is 30. Vincent longs for deep space travel but knows that he'll never amount to anything but a cleaner with his genes. So he grabs the opportunity to pass himself off as 'valid' Jerome (Jude Law) who has been crippled. However, things start to go wrong when a murder investigation and pretty co-worker Irene (Uma Thurman) get closer to figuring out the truth.

This is an immensely intriguing idea that is carried off well with both a realistic and disquieting view of the future. Never truly alone and programmed to be able to do only one specific thing means that dreams and aspirations are thrown out of the window. Among other things it also functions as an efficient thriller and love story. For these reasons it's unusual that this movie didn't do better at the box office.

As a romantic story it works a lot better than, say, 'Blade Runner' (Hawke and Thurman are married in real life) but the film is quite happy to cater to all tastes and it's difficult to pigeon-hole this as merely science-fiction. It has echoes of books such as 'Brave New World' and the incredibly realised future is at once elegant, absorbing and terrifying. Yet it never loses sight of the human spirit, with Jude Law's performance being especially mesmerising as the perfect person that has to live with his incapacity and watch a stranger live his life for him.

However, maybe the best praise for 'Gattaca' is that I loved it, and I'm not a science-fiction fan.

This superb near-future science fiction piece offers the perfect antidote to the tired, "cyberpunk", post-apocalyptic view usually taken by writers when predicting future society. Set in "the not-too-distant future" - a technologically advanced yet stylistically fifties world - the film portrays the social consequences of today's genetic research carried forward to extremes. Society has become divided; a new underclass created not according to race, sex, or financial means but "bad" genetic material - those born "on faith" rather than being genetically engineered to their parents' specifications. Gattaca tells the story of Vincent, one of the so-called "In-valids" who has the willpower to succeed in life but is oppressed because he is genetically inferior. To achieve his goal of joining the Gattaca space corporation and travelling into space he assumes the identity of a "Valid" - Eugene - by fooling the all-pervading genetic testing machines with samples of his blood, urine, skin and hair. Eugene - who seems to have every advantage in life - is bitter because he lacks the drive to use his gifts to the full, and is now crippled after a failed attempt at suicide. The film's overriding feature is the palpable tension created as Vincent must hide every trace of his being from those investigating a crime committed in his workplace - the attention to detail is superb. Overall, a thoughtful - if a little extreme - treatment of genetic research and the importance of the intangible aspects of the being as opposed to quantifiable features.

I think this movie is slightly overrated. The acting is not bad, camerawork not bad, but it's not excellent either. The dialogs are not really realistic -too many functional dialogs- and most characters are quite 'flat'. Don't understand me wrong, it's not a bad movie, but it's moralistic undertone probably caused it to become slightly overrated (just like movies like American History X).

Many science fiction films have a major flaw - their total lack of appeal to a broad range of people - yet 'Gattaca' succeeds on many levels. In we're introduced to Vincent (Ethan Hawke), a man of natural birth (or an 'in-valid') whose life expectancy is 30. Vincent longs for deep space travel but knows that he'll never amount to anything but a cleaner with his genes. So he grabs the opportunity to pass himself off as 'valid' Jerome (Jude Law) who has been crippled. However, things start to go wrong when a murder investigation and pretty co-worker Irene (Uma Thurman) get closer to figuring out the truth.

This is an immensely intriguing idea that is carried off well with both a realistic and disquieting view of the future. Never truly alone and programmed to be able to do only one specific thing means that dreams and aspirations are thrown out of the window. Among other things it also functions as an efficient thriller and love story. For these reasons it's unusual that this movie didn't do better at the box office.

As a romantic story it works a lot better than, say, 'Blade Runner' (Hawke and Thurman are married in real life) but the film is quite happy to cater to all tastes and it's difficult to pigeon-hole this as merely science-fiction. It has echoes of books such as 'Brave New World' and the incredibly realised future is at once elegant, absorbing and terrifying. Yet it never loses sight of the human spirit, with Jude Law's performance being especially mesmerising as the perfect person that has to live with his incapacity and watch a stranger live his life for him.

However, maybe the best praise for 'Gattaca' is that I loved it, and I'm not a science-fiction fan.

This superb near-future science fiction piece offers the perfect antidote to the tired, "cyberpunk", post-apocalyptic view usually taken by writers when predicting future society. Set in "the not-too-distant future" - a technologically advanced yet stylistically fifties world - the film portrays the social consequences of today's genetic research carried forward to extremes. Society has become divided; a new underclass created not according to race, sex, or financial means but "bad" genetic material - those born "on faith" rather than being genetically engineered to their parents' specifications. Gattaca tells the story of Vincent, one of the so-called "In-valids" who has the willpower to succeed in life but is oppressed because he is genetically inferior. To achieve his goal of joining the Gattaca space corporation and travelling into space he assumes the identity of a "Valid" - Eugene - by fooling the all-pervading genetic testing machines with samples of his blood, urine, skin and hair. Eugene - who seems to have every advantage in life - is bitter because he lacks the drive to use his gifts to the full, and is now crippled after a failed attempt at suicide. The film's overriding feature is the palpable tension created as Vincent must hide every trace of his being from those investigating a crime committed in his workplace - the attention to detail is superb. Overall, a thoughtful - if a little extreme - treatment of genetic research and the importance of the intangible aspects of the being as opposed to quantifiable features.

This is one of the most fun and interesting films I've seen in recent years. Fun, yet not without its serious side. The cast is great, with Timothy Hutton, Matt Dillon, Lauren Holly, Annabeth Gish, and Uma Thurman portraying classic characters in their late twenties. Natalie Portman nearly steals the show as a precotious 13-year-old, who sets her heart on Timothy Hutton.

We all know people (friends) like these characters. They ring true to our life experience. I think all guys struggle with the issues these guys are struggling with. (Maybe its true for women and the female characters as well?)

Do you look back to your past with longing for what could have been, or forge ahead into the future with whatever it brings?
Do you cling to the wild and independent spirit of your youth, or settle down into "commited" and maturing relationships?

Throw in a bar fight, some car crashes (all excused as raging male hormones), and you have a mix that could result in disaster (movie-wise), but director Ted Demme keeps it all together, and with just the right level of finese, comes up with a film that works, and works well!

The story line of this movie is set at the ten year high school reunion. Listening to the characters was like going to my own reunion. I saw myself and my buddies in these characters. What a classic this is! With an all-star cast including Timothy Hutton, Matt Dillon, Lauren Holly, rosie O'Donnell, natalie Portman, Michael Rapaport, Martha Plimpton, Uma Thurman and Mira Sorvino and a wonderfully matched soundtrack this movie is hard to top.

Will (Timothy Hutton) is trying to figure out the path his life will take, should he get married or not. But he is intrigued by the little girl next door and starts to think that his future wife may be a bit ordinary. Add to the mix Uma Thurman's out of town character that is beautiful and witty and Will is getting more muddled all the time. The local boys plow snow, drink beer and have affairs with married women, date women for nine years without proposing and raise kid with not clue how to do it. All real life things that we see everyday with ordinary people.

A movie that should not be missed, that an be watched over and over and will make you laugh and ponder the relationships that people get into.

I love this movie in oh so many ways, most of which are much too subtle for me to express in my current state. But I just had to respond, at least, to all these reviews saying this takes place in the Midwest or Minnesota. Where are you getting this from? Willie leaves the Port Authority Bus Terminal in NYC - telling his boss his bus trip is 5 or 6 hours. And in the bar, Paul talks about the guys in the bar who go to The Cape for 2 weeks out of every summer. Sorry folks - this takes place somewhere in Central Mass. In fact, I think I actually read that somewhere anyway. A great film - great acting - I disagree with all the criticisms - but I won't go into them all now.

This is one of the most fun and interesting films I've seen in recent years. Fun, yet not without its serious side. The cast is great, with Timothy Hutton, Matt Dillon, Lauren Holly, Annabeth Gish, and Uma Thurman portraying classic characters in their late twenties. Natalie Portman nearly steals the show as a precotious 13-year-old, who sets her heart on Timothy Hutton.

We all know people (friends) like these characters. They ring true to our life experience. I think all guys struggle with the issues these guys are struggling with. (Maybe its true for women and the female characters as well?)

Do you look back to your past with longing for what could have been, or forge ahead into the future with whatever it brings?
Do you cling to the wild and independent spirit of your youth, or settle down into "commited" and maturing relationships?

Throw in a bar fight, some car crashes (all excused as raging male hormones), and you have a mix that could result in disaster (movie-wise), but director Ted Demme keeps it all together, and with just the right level of finese, comes up with a film that works, and works well!

The story line of this movie is set at the ten year high school reunion. Listening to the characters was like going to my own reunion. I saw myself and my buddies in these characters. What a classic this is! With an all-star cast including Timothy Hutton, Matt Dillon, Lauren Holly, rosie O'Donnell, natalie Portman, Michael Rapaport, Martha Plimpton, Uma Thurman and Mira Sorvino and a wonderfully matched soundtrack this movie is hard to top.

Will (Timothy Hutton) is trying to figure out the path his life will take, should he get married or not. But he is intrigued by the little girl next door and starts to think that his future wife may be a bit ordinary. Add to the mix Uma Thurman's out of town character that is beautiful and witty and Will is getting more muddled all the time. The local boys plow snow, drink beer and have affairs with married women, date women for nine years without proposing and raise kid with not clue how to do it. All real life things that we see everyday with ordinary people.

A movie that should not be missed, that an be watched over and over and will make you laugh and ponder the relationships that people get into.

I love this movie in oh so many ways, most of which are much too subtle for me to express in my current state. But I just had to respond, at least, to all these reviews saying this takes place in the Midwest or Minnesota. Where are you getting this from? Willie leaves the Port Authority Bus Terminal in NYC - telling his boss his bus trip is 5 or 6 hours. And in the bar, Paul talks about the guys in the bar who go to The Cape for 2 weeks out of every summer. Sorry folks - this takes place somewhere in Central Mass. In fact, I think I actually read that somewhere anyway. A great film - great acting - I disagree with all the criticisms - but I won't go into them all now.

In less than a decade, 'Pulp Fiction' has become a cult classic, making many people's top ten films of all time. Not only was it a highly impressive second feature but it made Quentin Tarantino a real big Hollywood player (especially after the fantastic 'Reservoir Dogs') and it didn't just ressurect John Travolta's career but it made him cool again. There's countless moments in it to treasure, many of which have even become famous, especially Travolta and Jackson's conversation about the Royale with cheese. Cult movie fans should also be acquainted with the debate over what really was in that suitcase: diamonds, a human soul or even a Royale with cheese!

The story has three basic threads - revolving around two hitmen (Travolt and Jackson), a boxer (Willis) and a couple robbing a store (Roth and Plummer). The cast itself is formidable, with Thurman and Travolta being especially good. Yes it's violent, and has set off various arguments over the validity of such thrillers as valid cinema. The truth is, this grips you from start to finish, and proves beyond doubt that Quentin Tarantino is a force to be reckoned with.

Pulp Fiction was a groundbreaking film in a couple of different ways. It was an independent release and its success opened the door up for all kinds of maverick filmmakers and companies to release films that otherwise would have never been made. It also had a profound stylistic influence. It was a hip movie with sharp dialogue, graphic violence, cool soundtrack and intricate plotlines. In the wake of its success, many movies try to copy this style, but most failed as they lacked Quentin Tarantino's unique vision. Mr. Tarantino was able to pull John Travolta out of a decade long funk and directed him to the finest performance of his career and one that garnered his second Academy Award nomination. He also pushed Bruce Willis to a stellar performance that showed he was more than just an action hero. The cast is first rate including a beguiling Uma Thurman, Ving Rhames, Harvey Keitel, Eric Stolz, Rosanna Arquette and Christopher Walken. The best performance of all is given by Samuel L. Jackson who is absolutely amazing. It was a crime that he did not win the Academy Award for the role. Pulp Fiction is broken up into three parts and includes flashbacks, flash-forwards and twists and turns and some mysteries that are never revealed. It is a rare film that is both stylish and full of substance.

In the bizz of movie watching certin names are linked to certin subjects. Steven Spielberg= Hart warming, Gorge Lucas= star wars and Indiana Jone, Quentin Tarentino= Violence. In pulp fiction you get a violent story line that has about three storys that come together at the end. It is a great movie that is a must see.

phony phony phony! horrible dialogue. one of the worst pseudo-auteurs ever!

People call this movie garbage. On first viewing, it may be difficult to understand what a fine film it is. I first saw it in 1994 and didn't really like it then. Now I love it.

I urge those who are unsure to watch it again, and let it just sink in. How can you not enjoy those fantastic scenes which have a high re-watch factor - ie. the restaurant scene with Travolta and Thurman, and the breakfast scene where Jackson shoots the tenants. These are just two examples!

DVD SUMMARY:

Released countless times on DVD, this 2 Disc collector's edition offers more special features than earlier releases. What I still find odd is that the film quality is still disappointing. Apparently the original source has problems that can't be fixed. It's not a huge problem, but there still remains scenes which are not as sharp as they should be for a film that is under 10 years old. I've seen older films with pristine transfers.

i watched this because it was the only thing on. boy am i glad i made that decision. this is one of the coolest movies ever made and they don't skimp on the violence do they. it is a great film made with great improvement by a weird genius.

There's a good chance that you already know the story behind "Kill Bill," the first Quentin Tarantino movie in 6 years. It was originally going to be released as a 3-plus hour epic, but the boys at Miramax studios made the dubious decision to cut the film in half. Even so, "Volume 1" is good enough to stand on its own. Uma Thurman is on fire as the Bride, who goes on a mission to get revenge against the five members of the Deadly Viper Assassination Squad (the "DiVAS") who gunned her down for dead on her wedding day four years ago. Like 1994's "Pulp Fiction," the events in this film are told out of sequence, leaving the viewer to piece together the chain of events in order. And as action movies go, "Kill Bill" is a virtual bloodbath, a martial arts film with enough gore to make "Crouching Tiger Hidden Dragon" look like a Disney picture. If the sight of decapitations and the removal of limbs repel you in any way, you are best advised to steer clear from this movie. (There's also an extended anime clip that shows the history of the assassin O Ren Ishii that's equally graphic and disturbing) At times, "Kill Bill" goes into overkill and gets a bit too flashy for its own good. You can almost visualize Tarantino exclaiming "look Ma, no hands!" as he relentlessly brings on the action to cartoonish extremes. Say what you will about this movie, but one thing is certain: you won't be bored. "Kill Bill" also closes with an effective cliffhanger that leaves you salivating. The second "volume" is slated for release in early 2004. I'll be in line for tickets.

"Kill Bill" is an anomaly in today's Hollywood culture. Here is a movie that neither makes you think too hard nor tears at you heartstrings--and it is a truly excellent flick. Under the shrewd (and possibly insane) hands of Quentin Tarantino, "Kill Bill" details an ultrally brutal and even more emotionally statisfying quest for revenge.

Beat to a bloody pulp and shot in the head and left for dead at her wedding day, The Bride (Uma Thurman, whose name is never revealed) is carted away in a four-year-long coma. She wakes up and vows revenge. And, oh, does Thurman play revenge well. It seems that the supporting cast (Lucy Lui, Vivica A. Fox, among others) truly beat Thurman to the edge of death. Her eyes convey her emotion--the limited and brief dialogue isn't even necessary. She is surpremely convincing in every aspect of her performance, even throughout the amazingly stylish fight sequences (which put "The Matrix" to shame). She fights like a pro with samurai swords, lethal daggers, butcher knives, and frying pans.

One of the main draws to this redefining adventure is the hilarious subject matter. Tarantino goes overboard. Blood flies about like fruit punch, gushing out of wounds like a torrential downpour (sometimes, in fact, you will even wonder if the human body has that much blood), and in any other movie, that gore would force you to leave--but here, it doesn't. Why? Because Tarantino never takes himself too seriously. Fight scenes are punctuated with effective and sometimes laughable dialogue. But beneath the hokey action scenes and the cute quips, there is a real movie at work here. Tarantino dances about the timeline, bouncing the story back and forth to a dizzying point, which forces your full attention on the gradually unfolding general story. The cliffhanger ending merely seals the deal.

"Kill Bill" deserves all of the accolades it gets. Although it may seem to be a hackfest on the surface, there is true talent at work here. Uma Thurman and Lucy Lui give inspiring performances; the story, however linear it may be, it instantly grabbing; and Tarantino's masterful direction is as inspiringly as it is slightly distubring. A true masterpiece. One of the films to beat for 2003.

"Kill Bill Vo.1" is one of the most brutal,yet insanely brilliant film ever made.I loved it from the opening sequence where a battered (but still beautiful) Uma Thurman is listening to the unseen Bill as he is cocking a gun.After he points the gun at her and she says "Bill,it's your ba..." she gets shot point blank in the head.The credits show and The Bride pulls up to a house with several kids toys in the yard and it says on the screen 4 years later.She gets out of a yellow truck and walks up to the door and knocks.Veronica Green (played by Vivica A.Fox)
opens the door and looks awestruck at Uma Thurman.A knife fight between the two blows "The Matrix" films out of the water.After leaving the house and utttering very memorable words to Vernoica Greens daughter we are zapped 4 years before where The Bride lays in a coma,yet still alive miraculously.After being rudley awakened as you will find out she gets keys from a guy named Buck
to his yellow truck.Hey that rhymes.She hops in the back and attempts to move her feet as she tells the story of one of assasins O-Ring Ititushi played by Lucy Liu.After finsihing this story she hops out of the truck and drives off eventually ending up in Tokyo.She goes to a restraunt where she meets a man in order to get a samurai sword to kill every member of
The Deadly Viper Assasination Sqaud.She gets the sword and ends up at another restraunt/club where O-Ring Ititushi is.The next scenes which are filmed in black & white where she fights off about 100 men are one of the many highlights of the film.This film is a must see and is one of the greatest films ever made.