Beginning with cinema’s most obvious dick joke and ending on the its two directors burning everything, including its anti-hero, to the ground, the sequel to Crank is as much of a mindfuck as its predecessor, but beholden to absolutely nothing but the unfiltered expunging of their most loathsome impulses on behalf of directors Mark Neveldine and Brian Taylor, two unrepentant dude-bros who, considering the movies they made together, seem to have parted ways, perhaps on bad terms or perhaps because the two grown men who made Gamer and Ghost Rider 2 just had nowhere left to go together. Like any good follow-up, Crank 2 is everything that Crank was, but launched irretrievably down a hellish K-hole, amping up all the public sex, murder, violence, gratuitous nudity, nihilism and genre-bending fuck-all spirit that made the first such a potential point of cult fascination. Here, Jason Statham’s Chev Chelios has transformed into full-on superhero—minus the “hero” connotation—an invulnerable, inhuman cyborg who must regularly pump enough electricity into his body to kill a herd of elephants just to keep his battery-powered heart beating as he chases after the Chinese mobsters who stole his original God-given ticker and (almost) the big ole monster between his legs. There is nothing subtle about Crank 2; there is only submission. —Dom Sinacola
Deborah Weinswig, CEO and Founder of Coresight Research, weighs in, noting, “Consumers with Prime memberships are meaningfully more likely to buy nontraditional categories on Amazon. Prime members are naturally a self-selecting group of Amazon shoppers, because only regular customers would opt for a membership. But we think that once consumers become members, they see the value of buying types of products on the site that they may not traditionally associate with Amazon, such as groceries and clothing. That’s why Prime memberships are so important.”
These findings are contrary to some commentators’ perceptions that the Amazon website does not provide a quality experience when it comes to shopping for fashion because the site was designed to sell specification purchases (such as books and electronics). Responses to our survey suggest that Amazon’s website does indeed deliver the experience apparel shoppers seek.
Still, there are companies competing — and winning — against Amazon. These 7 stocks aren’t necessarily fully Amazon-proof stocks just yet, as the battles rage on. But they should be considered by those investors looking for the best stocks to buy outside of AMZN — and by investors looking for companies who can lead any market, no matter the competition.
At this point, some might think it’s too late to buy Amazon (AMZN - Free Report) stock since its run of absolutely insane growth is over. But Amazon’s days of impressive expansion don’t look like they are done just yet. And now might be a good time to think about buying AMZN stock before Amazon reports its Q3 financial results on Thursday, October 25.
Amazon Cash (in the United States and Canada) and Amazon Top Up (in the United Kingdom) are services allowing Amazon shoppers to add money to their Amazon account at a physical retail store. The service, launched in April 2017, allows users to add between $5 and $500 (£5 and £250) to their accounts by paying with cash at a participating retailer, who scans a barcode linked to a customer's Amazon account. Users can present the app on paper, on the Amazon app, or as a text message sent by the Amazon website. Participating retailers in the United States include 7-Eleven, CVS Pharmacy, and GameStop. In Canada, reloads can only be made at Canada Post post offices. In the United Kingdom, reloads can only be made at PayPoint locations.
Beginning in October 2016, Prime members in the U.S. receive access to a rotating set of Kindle e-books through Prime Reading. Some magazines and travel guides are also available through the service. Prime Reading is unrelated to the Kindle Owners Lending Library, Kindle Unlimited, and Kindle First, all of which continue to be available.
On May 10, 2016, Amazon launched a Video Service called Amazon Video Direct which allows users to place videos available to rent or own, to view free with ads, or to be bundled together, and offered as an ad-on subscription. Amazon will pay creators 50% of the revenue earned from rental or sale of the videos, but for ad-supported videos, the makers will get a portion of ad receipts.
Amazon also created "channels" to benefit certain causes. In 2004, Amazon allowed customers to donate $5 to $200 to the campaigns of 2004 US presidential hopefuls, providing links that raised $300,000 for the candidates. Amazon has periodically reactivated a Red Cross donation channel after crises such as Hurricane Sandy, Hurricane Katrina, and the 2004 earthquake and tsunami in the Indian Ocean. By January 2005, nearly 200,000 people had donated over $15.7 million in the US.
Society is perhaps what you would have ended up with in the earlier ’80s if David Cronenberg had a more robust sense of humor. Rather, this bizarre deconstruction of Reagan-era yuppiehood came from Brian Yuzna, well-known to horror fans for his partnership with Stuart Gordon, which produced the likes of Re-Animator and From Beyond…and eventually Honey, I Shrunk the Kids, believe it or not. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family members (and indeed, the entire town) are involved in some sinister, sexual, exceedingly icky business. Plot takes a backseat to dark comedy and a creepily foreboding sense that we’re building to a revelatory conclusion, which absolutely does not disappoint. The effects work, suffice it to say, produces some of the most batshit crazy visuals in the history of film—there are disgusting sights here that you won’t see anywhere else, outside of perhaps an early Peter Jackson movie, a la Dead Alive. But Society’s ambitions are considerably grander than that Jackson’s gross-out classic: It takes aim at its own title and the tendency of insular communities to prey upon the outside world to create social satire of the highest (and grossest) order. —Jim Vorel
Good delivery system, reasonably priced, decent movie and tv show selection, but some of the original programming is mediocre ranging to so-bad-it’ll-set-your-teeth-on-edge bad, shows like Transparent or Mozart in the Jungle start off strong but quickly degenerate into the worst Showtime-like cheesy schmaltz of star pimping, tired old tropes taking the place of plots, and comic relief comprising little more than a parade of characters written solely as one walking quirk each, while others like The Man in the High Castle are just jarringly bad from the get-go, seemingly written by a committee who studied what tonal elements make up a dystopian setting and then assembled these elements while committing zero interiority to the show. Aesthetics and taste are not Jeff Bezos’ strong suits, apparently. But otherwise this is a fine service, just don’t accidentally step off into Amazon’s own focus group-driven attempts at film or television production and you’ll be fine.
It should be ridiculous, this. A buddy comedy built atop the premise of a man (Paul Dano) lugging around, and bonding with, a flatulent talking corpse (Daniel Radcliffe)—but cinema is a medium in which miracles are possible, and one such miracle occurs in Swiss Army Man. A film with such a seemingly unpalatable concept becomes, against all odds, a near-profound existential meditation. And, for all the increasingly absurd gags about the utilities of that talking corpse’s body—not just as a jet-ski propelled by bodily gas, but as a giver of fresh water through projectile vomiting and even as a compass through its erection—there’s not one iota of distancing irony to be found in the film. Directors Daniel Scheinert and Dan Kwan are absolutely serious in their attempts to not only re-examine some of the most universal of human experiences, but also explore the idea of a life lived without limits, casting off the shackles of societal constraints and realizing one’s best self. It’s a freedom that the Daniels project exuberantly into the film itself: Swiss Army Man is a work that feels positively lawless. Witness with amazement what bizarrely heartfelt splendors its creators will come up with next. —Kenji Fujishima