Amazon Stock Just Hit $1,000 Per Share

Add Amazon stock (AMZN) to the list of things you can never afford. OK, it was already there anyway.

Jeff Bezos’ massive online retailer — home to Amazon Studios and Amazon Prime Video — just hit $1,000 per share for the first time ever.

That milestone houses a rare club of publicly traded companies, which also includes Priceline. The online travel company is actually not all that far off from reaching $2,000 per share — but Priceline is a far smaller firm than Amazon, with a real-time market cap of about $91 billion versus $478 billion for Amazon.

Below is a snapshot of the start to Tuesday’s trading day for AMZN.

Also Read: 10 Underrated Shows You Can Watch on Amazon Prime (Photos)

As you can see, at the time of this publishing, shares had climaxed at $1,001.20 apiece. The stock has since slipped back down a bit — but the day is young.

Amazon opened at $996.63 this morning, when the U.S. stock market’s rang their opening bells at 9:30 a.m. ET.

The regular day trading concludes at 4 p.m. Wall Street time.

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Cannes 2017: Thoughts on a Political, Indie-Minded Festival

With the 2017 Cannes Film Festival concluded, a few thoughts on what we learned at the festival’s 70th anniversary edition:

Politics are never too far below the surface at Cannes. One of the biggest stories of the past several years has been the ongoing migrant crisis, but Vanessa Redgrave’s impassioned agit-doc “Sea Sorrow” was the only Cannes film to tackle the subject head-on.

Though “Jupiter’s Moon” followed a Syrian refugee, the film was more interested in the religious allegory aspect and in crafting spectacular action set-pieces. African migrants popped up in Michael Haneke’s “Happy End” and Jonas Carpignano’s “A Ciambra,” but both films were ultimately about other subjects (Haneke’s about upper class malaise, Carpignano’s about a young Roma’s coming of age). Though the crisis shows no signs of abetting, it has become woven into the fabric of everyday life.


The big studios were conspicuously absent this year, with many of them choosing the fall festival circuit to launch their major titles, and so they’ve has taken on a different role, now acting as a career boost for up-and-coming young directors. Filmmakers like Benny and Josh Safdie, Tyler Sheridan and Sean Baker have all considerable success in the American independent scene. Now that they return with the Cannes stamp of approval, they will find themselves playing to a larger audience than they ever had before.

Also Read: ‘Good Time’ Cannes Review: Robert Pattinson Lurches Desperately Through Queens

Both Director’s Fortnight winners “The Rider” and “A Ciambra” mix documentary and fiction, having real people play versions of themselves in visually accomplished, highly cinematic retellings of their stories. While Netflix — and the way it’s challenging existing distribution models — has been the talk of the festival, these two Fortnight winners show that bold young directors are challenging film form itself.


For all of its fully-justified acclaim, Chloé Zhao’s “The Rider” is still more of a festival film. Expect it to gallop through Telluride and NYFF, but its finish line will likely be at either the Gotham Awards or the Independent Spirits.


Diane Kruger’s Best Actress win will certainly kick off an Oscar campaign, putting her in the spot occupied last year by Isabelle Huppert for the 2016 Cannes entry “Elle.”

Obviously, though, Kruger would have a different awards narrative than Huppert. For one thing, she’s better integrated into the American industry. She’s starred in mostly commercial fare since 2004’s “Troy” with an occasional jaunt back to Europe. While Huppert was of the “lifetime achievement” model, Kruger would be more “breakthrough dramatic role.”

She could also get a boost if Germany submits “In the Fade” as its foreign nominee. The straight-ahead drama was a little too meat-and-potatoes for Cannes intellectuals, but the Academy seems likely to eat it up.

Also Read: ‘In the Fade’ Cannes Review: Diane Kruger Shines in Familiar Drama

The Agnes Varda documentary “Faces Places” received unanimously ecstatic acclaim. It may well be the best-loved film of the entire festival. Add on the desire to honor a true cinema legend and you have the makings of a real player for doc awards.


If Netflix opts to give Noah Baumbach’s “The Meyerowitz Stories” a qualifying run, Adam Sandler might very well needle himself into the awards conversation. His warmly received turn as eldest son in a dysfunctional New York family gives the comedian a real opportunity to change his image within the industry. Whether or not he’ll act on it is another question.


Sweden’s Palme d’Or winner “The Square,” Hungary’s “Jupiter’s Moon,” Austria’s “Happy End” and Germany’s “In the Fade” all seem likely to be their country’s foreign film Oscar submission. Now that “120 Beats Per Minute” has won the Grand Prize, it has more heat in its quest to rise to the top of France’s always-packed lineup of possibilities.

Related stories from TheWrap:

‘The Square’ Wins Palme d’Or at the Cannes Film Festival

More Cannes Awards Go to ‘120 Beats Per Minute,’ ‘Visages, Villages’ – and a Poodle

‘You Were Never Really Here’ Cannes Review: Grim Joaquin Phoenix Puzzler Ends Competition

‘In the Fade’ Cannes Review: Diane Kruger Shines in Familiar Drama

Opening in Cannes can be a double-edged sword. Though most filmmakers crave the prestige and exposure offered by a main-competition slot, that slot comes with a significant — and often unfair — set of expectations. Thousands of films compete, and only 20 or so are chosen, so festivalgoers expect each film to bring the heat.

Those lofty expectations may explain the chilly response that greeted “In The Fade” following its first press screening at Cannes on Friday morning. By no means a poor work, Fatih Akin’s film is just a solidly well made, straight-down-the-line drama; it neither reinvents the wheel nor tries to do o.

Diane Kruger offers her strongest performance yet as Katja, a tatted, happy mom living a comfortably content life in the suburbs of Hamburg. She’s got a husband and son and everything she needs until about five minutes into the film, when she loses them all in what turns out to be a racist terrorist attack. (Her husband is Turkish, and he and his son are targeted for that, and only that, reason.)

Also Read: ‘Good Time’ Cannes Review: Robert Pattinson Lurches Desperately Through Queens

The film is divided into three chapters. The first chapter takes the form of a mourning-mom drama as it follows the shell-shocked Katja in the immediate aftermath of the attack. The second becomes a standard legal procedural once the perpetrators are caught and put on trial. The film shifts into revenge thriller territory in the final act, as Katja decided to clean up some loose ends not dealt with in the trial.

Each chapter follows the standard norms and rhythms of its chosen genre; you can always tell exactly where it’s going. But if the film studiously draws within the lines, its choice of color sets it apart. Within that familiar structure, “In The Fade” touches on a number of regrettably contemporary themes, from the rise of the European far right, to that deeply misguided impulse, when dealing with crimes related to race, of blaming the victim.

Breathing life into an angry and aloof mother in grief, Kruger gets her first-ever role in her native German. While director Fatih Akin offers polish and skill, there’s only so much he can do with what amounts to a very familiar drama. As the befuddled new widow who first seeks comfort in drugs and then in righteous anger, Kruger is the beating heart of the film.

If “In The Fade” picks up any awards heat in Cannes or further down the line, Kruger will be the one to benefit.

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‘Makala,’ ‘Gabriel and the Mountain’ Honored With Cannes’ Critics’ Week Awards

‘Good Time’ Cannes Review: Robert Pattinson Lurches Desperately Through Queens

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