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
The first four parts of this book are absolutely fascinating. It's an in depth look at the psychology of shopping and it is exactly what the title promises. Underhill's company gets paid to spy on people in stores and see what they're doing wrong and right. The gems in this book are the anecdotes and the specific revelations about how any obstacle you put in the way of a shopper drops your sales figures. Any way you can make life easier raises your sales. This all seems sort of obvious, but most people running the businesses don't think it through.
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.
A.: Yes. Just visit Amazon Prime's gifting page, add it to your cart and follow the instructions to find out how you can give a yearlong subscription to a friend or family member. In your cart, before you check out, just make sure that the box reading "This item is a gift" is checked off, and you can fill in the rest of the information when you pay.
Like Me is an indictment of a life spent “extremely” online: a thriller in which the thrill is the threat of empty transgression; a body horror flick in which the body horror is the way social media and Tumblr and Reddit and YouTube transform us, make us grotesque, perverting basic physical functions into scary, dysmorphic representations of the flesh sacks we carry around with us whenever we’re not online. Early in the film, writer-director Robert Mockler introduces us to the online world of our main character, Kiya (Addison Timlin, terrifying), via a disturbing barrage of hyperreal, gif-like images—close-ups of sugary cereal and milk chewed sloppily, of a viscous tongue mid-slurp, of Kiya doing weird kinesthetics in a dirty motel room while the camera capsizes and arises around her, this Manic Pixie Dream Girl who embodies each of those words as literally as possible. Though Mockler implies that these are all curated posts Kiya’s put online, we believe that this is how she sees the world. Aided by some seriously heady opioids and hallucinogens, she can’t help but digest her lived experiences without mitigating them digitally. As Kiya moves through Mockler’s pink-ish, neon dystopia, DP James Siewert shooting Timlin as if she’s stranded in the middle of a Michael Mann joint, everything seems on the table. Kiya lures a motel manager, Marshall (Larry Fessenden, better than excellent), to her room—another room, another motel, somewhere on this stupid planet—with the possibility of sex. Instead, he finds Kiya’s redecorated her room like an outtake from The Cell, testing the lonely guy’s willingness to go along with whatever insanity’s in store. Of course, some icky gastrointestinal calamity occurs, but Marshall never flinches, so Kiya kidnaps him and takes him with her. Gorgeous and gross in equal measure, Like Me is a visual feast. Mockler conjures setpieces out of practically nothing, crafting each frame with a meticulous symmetry that belies the chaos at the heart of Kiya’s impulsive odyssey. —Dom Sinacola
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
“Amazon has access to data that nobody else has,” said James Thomson, a former Amazon executive who now works at Buy Box Experts, a consulting firm that advises companies on how to build their brands and sell products on Amazon. “I can’t just walk into a store and say, ‘Excuse me, did you look at this brand of cereal this morning and decide not to buy it?’ Amazon has that data. They know you looked at a brand and didn’t buy it and they’re not going to share that data with any other brands.”
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.”
In 2005, Amazon announced the creation of Amazon Prime, a membership offering free two-day shipping within the contiguous United States on all eligible purchases for a flat annual fee of $79 (equivalent to $99 in 2017), as well as discounted one-day shipping rates. Amazon launched the program in Germany, Japan, and the United Kingdom in 2007; in France (as "Amazon Premium") in 2008, in Italy in 2011, in Canada in 2013, and in India on July 26, 2016.