For example, Amazon has offered a luxury skin care box stocked with perfume, exfoliating gel, moisturizer, and skin serum samples for $19.99. You get to try out everything included in the box and also receive a $19.99 credit towards luxury beauty products sold by Amazon. So, if you like something in the box, you can use your credit towards a full-size version of the product or other similar items in that category.
Promising review: "I love these pads. They are magnetic so they easily stick to the fridge. The items listed are the items that you use most often, and it is organized into sections that correspond to aisles at most grocery stores. Each section has a few additional blanks for adding those items that it doesn't list. This thing saves me a bunch of time!" —Steven Dix
Your appreciation of Denis Villeneuve’s Arrival will hinge on how well you like being led astray. It’s both the full embodiment of Villeneuve’s approach to cinema and a marvelous, absorptive piece of science fiction, a two hour sleight-of-hand stunt that’s best experienced with as little foreknowledge of its plot as possible. Fundamentally, it’s about the day aliens make landfall on Earth, and all the days that come after—which, to sum up the collective human response in a word, are mayhem. You can engage with Arrival for its text, which is powerful, striking, emotive and, most of all, abidingly compassionate. You can also engage with it for its subtext, should you actually look for it. This is a robust but delicate work captured in stunning, calculated detail by cinematographer Bradford Young, and guided by Amy Adams’ stellar work as Louise Banks, a brilliant linguist commissioned by the U.S. Army to figure out how the hell to communicate with our alien visitors. Adams is a chameleonic actress of immense talent, and Arrival lets her wear each of her various camouflages over the course of its duration. She sweats, she cries, she bleeds, she struggles, and so much more that can’t be said here without giving away the film’s most awesome treasures. She also represents humankind with more dignity and grace than any other modern actor possibly could. If aliens do ever land on Earth, maybe we should just send her to greet them. —Andy Crump
A.: Yes. Amazon recently began experimenting with making some purchases eligible only Prime members. For instance, popular video games such as FIFA 16 can only be purchased from Amazon if you're a Prime subscriber. Similarly, earlier this year when Amazon restocked its Nintendo Switch inventory, the console was only available for Prime members. This may be a sign of things to come where Amazon becomes more like Costco or Walmart, requiring membership before you can shop.
Snapchat is building a visual product search feature, codenamed “Eagle,” that delivers users to Amazon’s listings. Buried inside the code of Snapchat’s Android app is an unreleased “Visual Search” feature where you “Press and hold to identify an object, song, barcode, and more! This works by sending data to Amazon, Shazam, and other partners.” Once … Continue reading Snapchat code reveals team-up with Amazon for ‘Camera Search’
"Sometimes it's fun to have a straw with something, and sometimes it's just practical. I bought these to use in smoothies specifically so I could cut down on the massive amount of waste we all create by using disposable straws (something that even inspired a campaign by the National Parks Service). Once you've made the change, it's not even noticeable in your daily life, and it makes a big difference in the grand scheme of things for the environment. Plus, they come with their own cleaner, so you never have to worry about not being able to properly sanitize them." — Mara Leighton
The Echo Link (above) is “designed to connect to a receiver or amplifier, with multiple digital and analog inputs and outputs for compatibility with your existing stereo equipment.” There are no mics built in here; instead, the Echo Link serves only to “let you control music selection, volume, and multi-room playback on your stereo with your Echo or the Alexa app.”
Promising review: "My oldest son put this game on his Christmas wishlist. Knowing nothing about it, I purchased it; I was overjoyed that he was asking for something that didn't require batteries or wasn't a video game. Now, I realize I'm going to be judged as a bad parent for purchasing this game and for not doing more research before giving it to my teenage son. I accept that. However, this game is so funny. My husband and I have played it with our son quite a few times and it made us all sit together and just laugh so hard that we snort and end up having some very interesting conversations. Yes, the game is politically incorrect and does have some sexual content, but so does everything on TV and on the internet these days. Anything that keeps my teenager talking to me and feeling comfortable speaking with us about odd or uncomfortable things is a win in my parenting handbook." —Chrysswen
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
Tablet Offer: Credits end at end of term, early termination, early payoff or upgrade, whichever occurs first. Taxes and svc charges excluded. No cash back. May not be combinable with other tablet offers. Requires activation at point of sale. Available to new and existing customers who have an active Sprint wireless phone line. Req. qualifying data plan and new activation. Only 1 Tablet Offer per account during this offer. CL accounts req. active smartphone line and is not limited to 1 free tablet.
Lean on Pete flows with such gentle beauty that it may be hard to grasp precisely what it’s about or where it’s going. But the power of writer-director Andrew Haigh’s sublime drama is that it can support myriad interpretations while remaining teasingly mysterious—like its main character, it’s always just a bit out of reach, constantly enticing us to look closer. Based on Willy Vlautin’s 2010 novel, the movie is a smashing introduction to Charlie Plummer, who was the kidnapped John Paul Getty III in last year’s All the Money in the World. Here, he plays Charley Thompson, a 15-year-old living with his drinking, backslapping dad (Travis Fimmel) in Portland. Charley has a sweet face and a soft-spoken manner—when he talks, the last few words evaporate into the air, as if he’s too shy to even be bold enough to enunciate—but early on, we get a sense that there’s a craftiness underneath that demeanor. The first indication is his willingness to lie about his age to Del (Steve Buscemi), a craggy horse owner who reluctantly takes him on as a caretaker for his elderly racehorse Lean on Pete. Charley doesn’t know a thing about horses, but he’s anxious to find something to do now that he’s in a new town with his father, their reasons for leaving Spokane unspecified but clearly dispiriting. Familiar narrative tropes emerge in Lean on Pete: the boy-and-his-dog drama, the coming-of-age story, the father-and-son character piece, the road movie. Haigh breezes past them all, seeking something more elliptical in this deceptively slim story. With the patience and minimalist command of a Kelly Reichardt, he doesn’t dictate where his film goes, seemingly letting Charley’s restlessness call the shots. The boy’s journey gathers force and poignancy as it moves forward, and the more we understand about Charley the more unknowable he becomes. Along the way, we meet other people and see other worlds—the life of young military veterans, the reality of homelessness, the grind of the low-rent racing circuit—but Haigh views it all with the same unassuming compassion we see in Charley’s quiet eyes. —Tim Grierson