In a similar vein, Amazon recently started promoting its private-label brands on the pages of competing brands. The complaint some brands made here is that Amazon is getting that advertising space ‘for free.’ But ad space on a highly trafficked site like Amazon is never free. By allocating that space to promote one of its own products, Amazon is by default forfeiting ad dollars from advertisers. Given Amazon’s booming advertising business and how profitable this new division is, Amazon would not be giving up valuable ad space lightly.
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
GWW has seen a sharp pullback of late, dropping 26% from highs of just two months ago. Tariff and cyclical worries, plus a slightly disappointing Q3 report, have factored in. But the pullback seems to open an opportunity. GWW now trades at an attractive 15 times forward earnings. That’s simply too cheap for what is clearly among the best Amazon-proof stocks. Grainger already has proven the skeptics wrong. It likely will do so again. And at a cheaper price, that’s a bet worth taking.