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
Imperiled families are popular forms of community in documentaries this year—on the more heartwarming side is Abacus: Small Enough to Jail, the deceptively straightforward new film from Hoop Dreams director Steve James. In it, James details the ordeal of the Sungs, who ran the only bank to face federal prosecution in the aftermath of the 2008 financial collapse. What’s even more surprising is that their bank, Abacus Federal Savings, was a tiny, local institution catering to New York City’s Chinatown residents—hardly one of the massive financial corporations that helped crater the world economy. There is a happy ending to Abacus’s legal nightmare, however, but James uses the court case as a means to explore the Sung family, particularly patriarch Thomas Sung, who even in his late 70s still elicits a strong hold over his adult daughters, who help run the bank with him while jockeying to curry his favor. Abacus is a family portrait mixed with current events, and if it’s less ambitious than Hoop Dreams that doesn’t diminish the warmth and subtlety James brings to this look at an anxious, close-knit clan who rally around one another once the government goes after them. —Tim Grierson
Like Chantal Akerman’s ascetic classic Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Jim Jarmusch’s Paterson concerns itself with routine. The film conditions you to jive with its particular rhythm, in part so you might feel the impact experienced by our hero when the unexpected punctuates what’s regular in this average person’s life. Only, where Jeanne Dielman depicted the day-in-day-out of working-class life as a monotonous horror show, Paterson takes an altogether different tack. To Jarmusch, the everyday existence of blue-collar individuals like bus driver-poet Paterson (Adam Driver)—whom we observe across a single week—is so simple as to be near transcendent. Paterson’s a classic nice guy, but Driver helps us realize there’s more going on beneath that exterior that’s so cautious to offend. It’s a turn of minor gestures that lacks the obvious Best Actor grandstanding to, say, win an Oscar, but rest assured Driver’s performance is one of the most impressive of its year. As with Jarmusch’s beguiling film on the whole, once acclimated, you continue to feel it long after you’ve left the cinema. —Brogan Morris
Andrew began his first importing business in 2005 at 19. Graduating as a double major with High Distinction from the Carlson School at 20, Andrew now owns and operates four businesses related to manufacturing, importing, private labeling, wholesale distribution, retail sales and third party marketplaces. His lifetime sales on eBay and Amazon are each in the 8 figures. His latest startup is AMZ Help, which offers unlimited Amazon consulting from a team of experts for a monthly fee. Now 31, he lives in Hidden Hills Preserve with his wife and two young children.
Amazon announced that July 15, 2015, its 20th birthday, would be "Amazon Prime Day", with deals for prime members similar to those on Black Friday. That month Amazon Prime announced signed up Jeremy Clarkson, Richard Hammond, and James May, formerly of BBC's Top Gear, to begin working on The Grand Tour, due to be released in 2016. On July 13, 2016, Amazon Prime said customers placed 60 percent more orders worldwide on "Prime Day".
Brian Sheehan, who teaches advertising at Syracuse University, said Amazon's tactics are "fair game," at least until the U.S. regulators determine otherwise. While it's common for big-box retailers to launch private-label brands based on what sells best in their stores, Amazon could be viewed differently because of its size and level of influence, he said.
If you subscribe to Prime Video via iTunes where available, payment will be charged to your iTunes Account at confirmation of purchase and your membership will automatically renew monthly unless auto-renewal is turned off at least 24 hours before the end of the then current membership period. Your account will be charged for renewal within 24-hours before the end of each membership period at the rate of your selected plan. You can manage your subscription and turn off auto-renewal anytime by going to My Account or through iTunes.
In which we bask in Vince Vaughn’s hugeness, witnessing S. Craig Zahler’s pitch-perfect ode to grindhouse cinema draw the best of extremes out of an actor who’s had a rough couple years crawling out from under the parody of himself. This is not Vince Vaughn playing Bradley Thomas, stolid brute willing to do whatever it takes to protect his family, it is the silhouette of Vince Vaughn, silent and bigger than everyone else in the room, a spectre of bruised flesh—so much flesh—descending circle by circle into Hades, his odyssey heralded by the likes of Don Johnson and Udo Kier (both seemingly born to be in this endlessly compelling, awfully fucked-up movie) and soundtracked by soul/RnB icons like the O’Jays and Butch Tavares. It confirms that Zahler—along with Bone Tomahawk—is on some Tarantino levels of modern genre filmmaking—which could honestly be a pejorative, were Brawl in Cell Block 99 less finely tuned, less patient and less breathlessly violent. By the time Bradley lurches into irrevocable action, foreshadowed by an opening scene in which he rips apart a car with his bare hands, which is exactly as that sounds, every life force he snuffs out with maximum barbarity also comes with pure satisfaction, the Id of anyone who’s into this kind of thing stroked to completion. —Dom Sinacola
This implies that growth in Prime membership will underpin Amazon’s expansion into clothing and footwear. However, Prime membership levels are already high in the US, suggesting that they could plateau in the coming years. Some 43% of those surveyed said that they already have a personal Prime membership and a further 21% said that they have access to Prime benefits through someone else in their household. So, Amazon may need to focus on driving up purchase frequency and average spend in order to support its market share gains.
Amazon’s launch of several apparel private labels over the last couple of years is one sign that it is serious about growing its share of the fashion market. Our survey found that a significant number of Amazon Fashion shoppers have already bought something from one of its still-new private-label ranges and that even more shoppers are interested in trying those ranges:
So read this book with the understanding that Underhill is a pretty good anthropologically-trained note taker,whose observations have turned up several things of interest to the retailer, at the same time that he is a pathetically bad business consultant and would-be futurist, with a pathological need to self-promote and a very annoying prose style.
Amazon's answer to Apple Music, Spotify and the like gives you access to "tens of millions" of songs -- far more than you get from Prime Music. If you already have a Prime subscription, Music Unlimited costs $7.99 per month -- a few dollars less than the competition charges. However, a family plan makes it $14.99 per month whether you're a Prime subscriber or not, and that doesn't represent any savings over the competition. Indeed, you might want to investigate whether Amazon Music Unlimited is good deal for you before adding it to your account.
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.