Actress Uma Thurman is moving into a luxury new home in New York after scoring the property for $9 million (£6 million) less than the initial asking price. The Kill Bill star has purchased a 13-room pad in the exclusive River House building in Manhattan, overlooking the East River, from romance author Barbara Taylor Bradford, more than three years after the writer first placed the expansive apartment up for sale.
The A Woman of Substance novelist initially tried to sell the spread in March, 2010 for just shy of $19 million (£12.7 million), but after slashing the cost numerous times, it was eventually picked up by Thurman earlier this month (Oct13) at $10 million (£6.7 million), reports the New York Post.
British author Barbara Taylor Bradford is auctioning off millions of dollars worth of her jewellery to provide an income for two distant relatives. The A Woman Of Substance writer, who has no children, is selling a collection of 40 items, most of which were gifts from her husband Bob, and is expected to raise close to $2.3 million (£1.5 million).
Among the items is a 14-carat diamond ring valued at $750,000 (£500,000) and a pair of Harry Winston diamond and pearl earrings valued at $112,500 (£75,000).
Taylor Bradford considered giving the collection to her two relatives, but decided they would be better served with the income from the auction "as they don't lead the same lifestyle as me".
She adds, "Bob and I decided it might be nice to auction it and the money would be a little nest egg for them. Let somebody else enjoy those beautiful things. It's a wrench, but at the same time I've enjoyed those pieces."
The author, who has sold 88 million books worldwide, said much of the collection had been languishing unworn in a drawer in her New York home, but declined to reveal which family members would be sharing the proceeds of the auction.
The items will be sold off at Bonhams in London in December (13).
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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