Portland filmmaker Matt McCormick begins his very personal documentary with an astounding shot of a nuclear mushroom cloud from high above the Earth, a droning ambient soundtrack roaring to a fever pitch as the explosion takes explicit shape. From there, McCormick narrates the story of his grandfather, one of the U.S.’s select B-52 bomber pilots burdened with flying world-clearing, 4-megaton nuclear weapons on marathon missions over North America, staying ever-ready to drop them on Russia should the Cold War come to a disastrous head. The film’s strength is its wordless, practically impressionistic sense of gravity when pouring over so much found footage and assorted documents from the time, detailing just how much of the world’s destiny was shaped by human beings as susceptible to error—to the failings of the human body—as any one of us. Scored by Portland ambient artist Eluvium (Matthew Cooper), Buzz One Four stays so compelling in its powerfully non-verbal wandering, one wishes McCormick got rid of narration altogether. —Dom Sinacola
Amazon Supply, launched in 2012, offers industrial and scientific components and maintenance, repair and operations (MRO) supplies. Amazon Supply was developed based on experience operating Smallparts.com, acquired in 2005. (The Smallparts.com brand was discontinued with the launch of Amazon Supply.) While Amazon Supply uses the same order fulfillment and distribution system as Amazon.com, its online store provides services to customers in more than 190 countries.
Unlimited Tablet Plan: Incl. unlimited texting on capable tablets & data with mobile optimized video streams at up to 480+ resolution, music at up to 500kbps, streaming gaming at up to 2 Mbps. Add Unlimited premium resolution streaming for add'l. $20/mo./line & get video streams at up to 1080+, music at up to 1.5 Mbps, gaming at up to 8 Mbps. Data deprioritization applies during times of congestion. After the 10GB, MHS, VPN & P2P usage will be limited to 2G speeds. Third-party content/downloads are add'l. charge. Int'l. svc. are not incl.
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
Carnival of Souls is a film in the vein of Night of the Hunter: artistically ambitious, from a first-time director, but largely overlooked in its initial release until its rediscovery years later. Granted, it’s not the masterpiece of Night of the Hunter, but it’s a chilling, effective, impressive tale of ghouls, guilt and restless spirits. The story follows a woman (Candace Hilligoss) on the run from her past who is haunted by visions of a pale-faced man, beautifully shot (and played) by director Herk Harvey. As she seemingly begins to fade in and out of existence, the nature of her reality itself is questioned. Carnival of Souls is vintage psychological horror on a miniscule budget, and has since been cited as an influence in the fever dream visions of directors such as David Lynch. To me, it’s always felt something like a movie-length episode of The Twilight Zone, and I mean that in the most complimentary way I can. Rod Serling would no doubt have been a fan. —Jim Vorel
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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.
Watching Henri-Georges Clouzot’s Les Diaboliques through the lens of the modern horror film, especially the slasher flick—replete with un-killable villain (check); ever-looming jump scares (check); and a “final girl” of sorts (check?)—one would not have to squint too hard to see a new genre coming into being. You could even make a case for Clouzot’s canonization in horror, but to take the film on only those terms would miss just how masterfully the iconic French director could wield tension. Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: The tightly wound tale of two women, a fragile wife (Véra Clouzot) and severe mistress (Simone Signoret) to the same abusive man (Paul Meurisse), who conspire to kill him in order to both reel in the money rightfully owed the wife, and to rid the world of another asshole, Diaboliques may not end with a surprise outcome for those of us long inured to every modern thriller’s perfunctory twist, but it’s still a heart-squeezing two hours, a murder mystery executed flawlessly. That Clouzot preceded this film with The Wages of Fear and Le Corbeau seems as surprising as the film’s outcome: By the time he’d gotten to Les Diaboliques, the director’s grasp over pulpy crime stories and hard-nosed drama had become pretty much his brand. That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?—seems to make it clear that even the director knew he had something devilishly special on his hands. —Dom Sinacola
If fighting over the last hot tech item in stock or waiting in hour-long check-out lines sounds like your worst nightmare, buying directly from Amazon is your best bet. And if you’re not already a Prime member (which gets you free, two-day shipping on pretty much everything you could ever need), we recommend it — especially if you’re not a plan-ahead kind of shopper.
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.