Promising review: "This will be the most emotional review I’ve ever written. There are millions of different toys to choose from on this planet but to find toys that satisfy my children is quite an accomplishment. I have three boys with Autism, so for me to find a toy that is so good for their motor skills and dexterity is amazing. This has to be the most brilliant toy I have ever purchased. To this company: Pat yourself on the back for a job well done. From this moment forward you have a lifelong customer.” —christina piemonte
In August 2012, Amazon announced it would be adding a gaming department to its company titled Amazon Game Studios. Amazon stated that it would introduce "innovative, fun and well-crafted games" to consumers. According to the Amazon Game Studios website, the last game that was launched by the department was Amazon's first ever mobile game Air Patriots, released on November 1, 2012.
But with that awesome power comes...strange choices. For some of us, that one-click checkout button can lead to some unusual impulse buys. For others, it's all too easy to start browsing Amazon in a late-night haze, saying yes to things you'd ordinarily never consider you needed in your life. But now that you've got a five-pound bag of Skittles or a dedicated wall-mounted purse hanger in your life, you've got to make the most of it, right?
If Nicolas Winding Refn—anthropomorphic cologne bottle; asexual jaguar—is going to make a horror film, Nicolas Winding Refn will make a horror film about the things that scare Nicolas Winding Refn most: asymmetry, sex, fatherhood. In The Neon Demon, every character is either someone’s daughter or a deranged daddy figure, both thirsty for the kind of flesh only Los Angeles can provide, the roles of predator and prey in constant, unnerving flux. Part cannibal-slasher movie and part endlessly pretty car commercial, Refn’s film about a young model (Elle Fanning) making it in the fashion industry goes exactly where you think it’s going to go, even when it’s trying as hard as it can to be weird as fuck. But despite his best efforts, Refn sustains such an overarching, creeping atmosphere of despair—such a deeply ingrained sense of looming physical imperfection, of death—that it never really matters if The Neon Demon doesn’t add up to much of anything in the end. —Dom Sinacola
Two men on the cusp of utter meme-ification craft one last masterpiece together before they let go, fizzling into the dying light. An elegy, perhaps—for America, maybe, or for the concept of law and order within an America that’s long abandoned both concepts—Werner Herzog’s predictably singular vision for a loose sequel (reboot) to Abel Ferrara’s Bad Lieutenant hangs Nicolas Cage from an imaginary hook, the actor’s baggy suit and wincing, glazy visage seemingly draped uncomfortably over every crime scene, line of coke and hallucinated iguana he comes across. New Orleans lieutenant Terence McDonagh is in a lot of pain, due mostly to a back injury he suffered saving an inmate from a flooding jail cell in the immediate aftermath of Hurricane Katrina, exacerbated by all the extra drugs he consumes, plus the long horrible hours he maintains navigating the surreal wasteland of a city that’s seemingly made no progress since the natural disaster. Herzog makes no apologies about the obvious ties between McDonagh’s degradation and that of New Orleans’, concerned less with his plot’s procedural aspects (McDonagh’s trying to solve the murders of a family involved with low level drug dealing) and more with the oneiric geography of a once-thriving city lost to time. McDonagh, then, is our addled Virgil, guiding us through the Hell that made him, the Hell from which he can’t escape, the Hell he’ll never save despite his best efforts. Suffused with absurdity, and hilariously bleak as fuck, The Bad Lieutenant – Port of Call: New Orleans serves as the last of Herzog’s fiction films able to withstand the director’s hardheaded anti-narrative inclinations, as well as the last of Cage’s films in which his unhinged weirdness isn’t so obviously performative. Together, the two men offer no hope for those whom America’s abandoned. Instead they offer a moving, odd bit of comfort: At least some of us are still trying. —Dom Sinacola
Those huge margins, for essentially being a middleman, also made GWW an obvious target for Amazon. And so the launch of Amazon Business seemed an enormous threat to Grainger’s business. Amazon presented a new rival, one of very few who could match Grainger’s supply chain and distribution capabilities. In the worst-case scenario, Amazon could in theory decimate Grainger’s business. Even in a better outcome, Grainger would seem forced to lower prices to compete.
The company launched amazon.com Auctions, a web auctions service, in March 1999. However, it failed to chip away at the large market share of the industry pioneer, eBay. Later, the company launched a fixed-price marketplace business, zShops, in September 1999, and the now defunct partnership with Sotheby's, called Sothebys.amazon.com, in November. Auctions and zShops evolved into Amazon Marketplace, a service launched in November 2000 that let customers sell used books, CDs, DVDs, and other products alongside new items. As of October 2014, Amazon Marketplace is the largest of its kind, followed by similar marketplaces from Sears, Rakuten and Newegg.