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
Euromonitor International estimates that Amazon US sold $24.6 billion of clothing and footwear in 2017, of which $20 billion was sold by third-party sellers. We estimate that this total would place Amazon roughly level with Walmart, America’s biggest apparel seller—although we note that Walmart achieves this position primarily through first-party sales while Amazon is largely transacting third-party sales.
Two men on the cusp of utter meme-ification craft one last masterpiece together before they let go, fizzling into the dying light. An elegy, perhaps—for America, maybe, or for the concept of law and order within an America that’s long abandoned both concepts—Werner Herzog’s predictably singular vision for a loose sequel (reboot) to Abel Ferrara’s Bad Lieutenant hangs Nicolas Cage from an imaginary hook, the actor’s baggy suit and wincing, glazy visage seemingly draped uncomfortably over every crime scene, line of coke and hallucinated iguana he comes across. New Orleans lieutenant Terence McDonagh is in a lot of pain, due mostly to a back injury he suffered saving an inmate from a flooding jail cell in the immediate aftermath of Hurricane Katrina, exacerbated by all the extra drugs he consumes, plus the long horrible hours he maintains navigating the surreal wasteland of a city that’s seemingly made no progress since the natural disaster. Herzog makes no apologies about the obvious ties between McDonagh’s degradation and that of New Orleans’, concerned less with his plot’s procedural aspects (McDonagh’s trying to solve the murders of a family involved with low level drug dealing) and more with the oneiric geography of a once-thriving city lost to time. McDonagh, then, is our addled Virgil, guiding us through the Hell that made him, the Hell from which he can’t escape, the Hell he’ll never save despite his best efforts. Suffused with absurdity, and hilariously bleak as fuck, The Bad Lieutenant – Port of Call: New Orleans serves as the last of Herzog’s fiction films able to withstand the director’s hardheaded anti-narrative inclinations, as well as the last of Cage’s films in which his unhinged weirdness isn’t so obviously performative. Together, the two men offer no hope for those whom America’s abandoned. Instead they offer a moving, odd bit of comfort: At least some of us are still trying. —Dom Sinacola
In 2012, Amazon announced the launch of Vine.com for buying green products, including groceries, household items, and apparel. It is part of Quidsi, the company that Amazon bought in 2010 that also runs the sites Diapers.com (baby), Wag.com (pets), and YoYo.com (toys). Amazon also owns other e-commerce sites like Shopbop.com, Woot.com, and Zappos.com.