Some of this data is also available to big brands or vendors selling on Amazon’s platform through a program called Amazon Retail Analytics Premium. But it is expensive, with vendors paying 1 percent of their wholesale cost of goods sold to Amazon or a minimum of $100,000 to get access to a database that lets them see some, but not all, of the data Amazon has compiled.
Turn on 1-Click. Click the "Turn 1-Click on" button on the right side of the page. This will toggle the 1-Click settings for your account. You can now click the "1-Click Order" button on most items (including all digital items including all Amazon Kindle books and Kindle apps, etc, as well as Amazon Video (formerly called both Amazon Instant Video and Amazon Video-on-Demand)) to have them instantly ordered and shipped. You will have 30 minutes to cancel erroneous orders.
What’s perhaps most refreshing in Green Room is writer-director Jeremy Saulnier’s lack of interest in the kind of moralizing that made his last film, Blue Ruin, ultimately seem conventional. Instead, Saulnier simply presents us this nutty scenario without feeling the need to lard it up with anything as cumbersome as topical commentary or moral ambiguity. He proceeds to wring as much tension and suspense from its pulpy retro plot as possible, adding a few entertaining grace notes along the way, which can best be seen in its performances. In the ensemble-based Green Room, Saulnier revels in the contrasts of personalities and styles: band bassist Pat’s (Anton Yelchin) Bill Paxton-like desperation, for instance, set alongside the weary, near-drugged-out deadpan of Amber (Imogen Poots), a friend of the woman whose murder sets off the film’s violent chain of events; or the imperial calm of Darcy (Patrick Stewart), the ruthless leader of the band of white supremacists who attempt to kill Pat, Amber and the rest. It’d be a stretch to call these characters three-dimensional, but nevertheless, under Saulnier’s writing and direction, they all manage to stand out just enough as individuals for us to become emotionally involved in their fates. Meanwhile, Saulnier supports these characters and plot turns with filmmaking that is remarkable for its economy and patience. D.P. Sean Porter gets a lot of mileage out of the cramped quarters and grimy lighting of the bar, lending its wide (2.35:1) frames an appropriately nightmarish feel amidst many suspenseful set pieces. In those ways, the lean, mean Green Room stands as one of the best B-movie genre exercises in many years. —Kenji Fujishima
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Even considering that the teams launching private-label brands at Amazon have unrestricted access to programs like Vine reviews, they are still “paying” for these perks. The Vine review program is not a fully automated process that runs in the background. It requires technical and human resources to manage thousands of Vine reviewers and product review requests from vendors. Amazon is matching reviewers with samples and shipping the samples out, managing customer service, and maintaining the infrastructure of the program. You can bet that there are heated internal battles for Vine review program privileges on new product launches, even if the internal team is not personally dropping hundreds or thousands of dollars on the activity like brands have to do.
If you’ve never heard of the West Memphis Three, do some research before you begin—you’ll want to be prepared. Within only a minute of the film’s opening, as Metallica’s “Welcome Home (Sanitarium)” noodles forebodingly over pixelated camcorder videos, intolerable images taken straight from police evidence glance across frame, so quickly and frankly you’ll immediately question if they are, in fact, real. Of course, they are—they are images no person should ever have to see, and yet Joe Berlinger and Bruce Sinofsky use them only to expose the unbelievable horror at the heart of the appropriately named Paradise Lost. What unfolds over the following two and a half hours is just as heartbreaking: a trio of teenage boys (one with an IQ of 72) is put on trial for the brutal murders of three prepubescent boys, the only evidence against them a seemingly forced confession by the young kid with the below-average IQ, and laughably circumstantial physical proof. The film explores the context of West Memphis, its blindly devoted Christian population and how the fact that these teenagers dressed in black and listened to Metallica somehow led to their predictable fates at the hands of a comprehensively broken justice system. With surprising access to everyone involved in the trial, as well as a deft eye for the subtle exigencies of any criminal case such as this, Paradise Lost is a thorough, infuriating glimpse of the kind of mundane evil that mounts in some of America’s quietest corners. Welcome home. —Dom Sinacola
But as Amazon uses its powerful platform to bolster its private-label business, there is also debate in legal circles whether some of its activities could be viewed as monopolistic in nature. Some say Amazon could face a legal challenge akin in size and scope to when the Department of Justice two decades ago filed antitrust charges against Microsoft for bundling its own browser into its software, making it difficult for consumers to install a browser from Microsoft’s top competitor, Netscape. Microsoft lost that court battle.
Amazon Prime membership in Germany, the United Kingdom, India, and the United States also provides Amazon Video, the instant streaming of selected movies and TV shows at no additional cost. In November 2011, it was announced that Prime members have access to the Kindle Owners’ Lending Library, which allows users to borrow certain popular Kindle e-books for free reading on Kindle hardware, up to one book a month, with no due date.