Amazon is still by far the biggest cloud computing firm, with its high-margin AWS business jumping 49% to $6.12 billion in the second quarter. Amazon held the top spot in terms of market share at 34%, which came in well-above second-place Microsoft’s (MSFT - Free Report) 14%, IBM’s (IBM - Free Report) 8%, Google’s 6%, and Alibaba’s (BABA - Free Report) 4%, according to Synergy Research Group.
The Ring Stick Up Cam will be offered in both wired and battery-powered configurations — both for $179.99. The Stick Up Cam can be used both indoors and out, according to Amazon, marking Ring’s first cameras designed for both environments. They can integrate with the Ring Alarm when used inside the house. The wired variant is up for preorder starting today, with the battery Stick Up Cam due to arrive in December. Both offer 1080p video, night vision, motion detection, and IPX5 water resistance.
In a time when exploitation cinema seemed the standard for cheap movie houses the world over, no martial arts flick got much better than this Shaw Brothers staple, which eventually adopted the much more PC title, Return of the 5 Deadly Venoms. The blind one, the deaf mute, the one without legs and the brain-damaged “idiot”: Together, they make an unstoppable force of vengeance against the local martial arts master who crippled them, as well as his son, who ironically lost his arms at a young age, and so sports dart-shooting cast-iron facsimiles. In other words, Crippled Avengers plays it cool, allowing our disfigured heroes few but important victories for most of the film, building up to its final 25-minute series of fight scenes, in which a blind man, a deaf mute, a man with iron prosthetic legs and an acrobatic “idiot” combine their individual strengths to defeat a kung fu master with, basically, robot arms. Movies like this give us reasons to get up in the morning. —Dom Sinacola
There need not be a documentary about the Syrian catastrophe to rally the world around its cause—just as, in Matthew Heineman’s previous film, Cartel Land, there was no need to vilify the world of Mexican cartels or the DEA or the paramilitaristic nationalists patrolling our Southern borders to confirm that murder and drug trafficking are bad. The threats are known and the stakes understood, at least conceptually. And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts, in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria. In hiding, in Turkey and Germany and at an event for journalists in the U.S.—in exile—these men, who Heineman characterizes as a very young and even more reluctant resistance, tell of both the increasingly sophisticated multimedia methods of ISIS and their hopes for feeling safe enough to settle and start a family with equal trepidation about what they’ve conditioned themselves to never believe: That perhaps they’ll never be safe. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance. There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the 2015 International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out. —Dom Sinacola
A.: Prime Now is an app for iOS and Android devices and a website that promises free delivery of select items within 2 hours. At the outset, the service is only available in select cities, including New York, Los Angeles, Seattle and Phoenix, but the program adds new cities on a regular basis. Just this month, Amazon expanded its Prime Now delivery to include Annapolis, Cleveland, Louisville, North/Central New Jersey, and Pittsburgh as well as additional locations in the San Francisco Bay Area.
In October 2016, Amazon Music released a music streaming service called "Amazon Music Unlimited." Unlike Prime Music with its somewhat limited catalog, this stand-alone music streaming service has "tens of millions" of songs and is intended to compete with music streaming leaders such as Spotify and Pandora Radio. It has a similar price structure, albeit with a $2/month discount for Amazon Prime members.
In April 2014, Amazon announced its Amazon Fire TV set-top box system, a device targeted to compete with such systems like Apple TV or Google's Chromecast device. The Amazon set-top box allows for streaming videos from sites like Amazon's own streaming service as well as others such as Netflix or Hulu. The device also supports voice search for movies, as well as gaming, which includes special versions of Minecraft, Asphalt 8, and The Walking Dead. Amazon announced the Fire TV Stick in October 2014. The device replicates much of the functionality of the Fire TV.
Good delivery system, reasonably priced, decent movie and tv show selection, but some of the original programming is mediocre ranging to so-bad-it’ll-set-your-teeth-on-edge bad, shows like Transparent or Mozart in the Jungle start off strong but quickly degenerate into the worst Showtime-like cheesy schmaltz of star pimping, tired old tropes taking the place of plots, and comic relief comprising little more than a parade of characters written solely as one walking quirk each, while others like The Man in the High Castle are just jarringly bad from the get-go, seemingly written by a committee who studied what tonal elements make up a dystopian setting and then assembled these elements while committing zero interiority to the show. Aesthetics and taste are not Jeff Bezos’ strong suits, apparently. But otherwise this is a fine service, just don’t accidentally step off into Amazon’s own focus group-driven attempts at film or television production and you’ll be fine.
“I think, effectively, you have a company that has conspired with about a billion consumers and technology to destroy brands,” argued Scott Galloway, a founder of business research firm now called Gartner L2 and a professor of marketing at New York University Stern School of Business, in a presentation last year. “Their attitude is that brands have, for a long time, earned an unearned price premium that screws consumers.”
No matter what type of music you love, Amazon.com can help you find your favorite artists and your favorite genres, no matter whether you love The Beatles, Elvis Presley, Bob Marley, Johnny Cash, Mozart, Miles Davis, and many more. Our wide range of genres includes alternative rock, blues, Broadway and vocals, children’s, Christian, classical, classic rock, country, dance and electronic, folk, gospel, hard rock and metal, indie, jazz, Latin, new age, opera, pop, R&B, rap and hip-hop, reggae, rock, soundtracks, world, and many sub-genres like British alternative, Americana, bluegrass, and more.
In August 2005, Amazon began selling products under its own private label, "Pinzon"; the trademark applications indicated that the label would be used for textiles, kitchen utensils, and other household goods. In March 2007, the company applied to expand the trademark to cover a more diverse list of goods and to register a new design consisting of the "word PINZON in stylized letters with a notched letter "O" which appears at the "one o'clock" position". Coverage by the trademark grew to include items such as paints, carpets, wallpaper, hair accessories, clothing, footwear, headgear, cleaning products, and jewelry. In September 2008, Amazon filed to have the name registered. USPTO has finished its review of the application, but Amazon has yet to receive an official registration for the name.
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
Amazon product lines include several media (books, DVDs, music CDs, videotapes, and software), apparel, baby products, consumer electronics, beauty products, gourmet food, groceries, health and personal-care items, industrial & scientific supplies, kitchen items, jewelry and watches, lawn and garden items, musical instruments, sporting goods, tools, automotive items and toys & games.