Best Movie At Amazon Prime
When Amazon closed its acquisition of MGM in March of 2022, it gained access to one of the most important movie libraries in film history. In addition to linking Amazon with one of the most respected names in Hollywood, it also gave the Prime Video streaming service access to classics like the entire James Bond catalog, up to the latest releases, no time to die, This is definitely an exciting time to become a subscriber.
The best movies on Amazon Prime Video depend on what streaming service is available at the time (not all James Bond movies will be available all the time) so it’s important to know what’s coming out each month. The best movies on Prime Video in July 2022 shows how diverse the service’s selection is.
Amazon Prime is a teeming streaming
treasure trove of some of the most esoteric, wonderful and underseen cinema of the past 80 years, though good picks can feel nearly impossible to cull from the sometimes overwhelming glut of weirdly terrible titles buried in Prime’s nether regions.
And that’s not to mention the counterintuitive, migraine-inducing browsing, or the service’s penchant for dropping a title unexpectedly only for it to reappear under a different link just as unexpectedly. Who can keep track of any of this stuff?
Well, we can. Or, at least, we try. Half a dozen films from this list left the service this November, as much heads to IMDb TV (also owned by Amazon) and to rental. Not to worry, though: There were plenty of great movies waiting to take their place…we just had to dig them up by battling Amazon’s notoriously terrible user interface.
1. One Night in Miami
Director: Regina King
Stars: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr
Runtime: 114 minutes
A barebones summary of One Night in Miami sounds like a dude’s delight movie: Four men out on the town, no attachments to keep them in line, and a limit to their evening revelry that extends skyward. But the four men are Sam Cooke, Cassius Clay, Jim Brown, and most of all Malcolm X; the town is actually the Magic City; and the specific evening is February 25, 1964, when heavyweight boxing champion Sonny Liston crossed gloves with Clay and lost his title in an upset.
Subjects crossing the characters’ lips include, of course, boxing, and women, and rowdiness, but they’re joined by other, more important subjects like Black American identity, American identity, and how the two interact with one another. But that doesn’t rob One Night in Miami of the “delight” clause, thanks in no small part to crackling performances by
a cast comprising a cadre of exceptional young actors (Eli Goree, Leslie Odom Jr., Aldis Hodge, Kingsley Ben-Adir), and directed with cool confidence by Regina King in her feature debut. Her adaptation of Kemp Powers’ stage play is a historical document written to presuppose what conversations these fellows might’ve had in private and away from prying ears, a compelling fiction rooted in reality. It’s also thoroughly entertaining, witty, and exuberant. This isn’t a film about meaningless carousing. It’s about conversations that actually matter. –Andy Crump
Director: Martin Scorsese
Stars: Robert De Niro, Cathy Moriarty, Joe Pesci
Runtime: 129 minutes
The best film of the 1980s contains one of the all-time-great feats of directing and one of the all-time-great feats of screen acting. The status that Martin Scorsese’s Raging Bull has achieved in the years since its release is completely earned. Watching it is a fully felt experience. Over the years, much has been made of the weight Robert De Niro gained while filming Raging Bull to authentically capture the physical transformation of boxer Jake LaMotta.
While it’s a great symbol of his commitment, the pounds don’t begin to explain the depths of the character portrait he and Martin Scorsese created. The film looks unforgivingly at a fragile, insecure man who communicates his need for love with jealousy, anger and violence.
Scorsese’s shots convey the overly suspicious workings of LaMotta’s head, then back out to coldly observe the horrific violence that ensues. Then there are the boxing scenes. Scorsese deserves endless praise for finding such lively, inventive ways to capture the experience inside the ring. But what’s really amazing is that he goes beyond a great sports scene.
Each fight serves as a window into LaMotta’s soul. The camera movement, the quick edits, the sudden shifts in speed all reflect his mental state, his need to damage himself or cause damage to others. Such expressive, visceral filmmaking has rarely been equaled. –Michael Burgin
Directors: Eduardo Sanchez, Daniel Myrick
Stars: Heather Donahue, Michael Williams, Joshua Leonard
Runtime: 81 minutes
Where Scream reinvented a genre by pulling the shades back to reveal the inner workings of horror, The Blair Witch Project went the opposite route by crafting a new style of presentation and especially promotion. Sure, people had already been doing found footage movies; just look at The Last Broadcast a year earlier.
But this was the first to get a wide, theatrical release, and distributor Artisan Entertainment masterfully capitalized on the lack of information available on the film to execute a mysterious online advertising campaign in the blossoming days of the Internet age.
Otherwise reasonable human beings seriously went into The Blair Witch Project believing that what they were seeing might be real, and the grainy, home movie aesthetic captured an innate terror of reality and “real people” that had not been seen in the horror genre before.
It was also proof positive that a well-executed micro-budget indie film could become a massive box office success. So in that sense, The Blair Witch Project reinvented two different genres at the same time. –Jim Vorel
Director: Jonathan Demme
Stars: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine
Runtime: 118 minutes
The camera hugs her face, maybe trying to protect her though she needs no protection, and maybe just trying to see into her, to see what she sees, to understand why seeing what she sees is so important.
Not even 30, Jodie Foster looks so much younger, surrounded in The Silence of the Lambs by men who tower over her, staring at her, flummoxed by her, perhaps wanting to protect her too, but more likely, more ironically, intimidated by a world that would allow such a fragile creature to wander the domain of monsters. As Clarice Starling, FBI agent-in-training, Foster is an innocent who’s seen more than any of us could ever imagine, a warrior who seems unsure of her prowess.
That Jonathan Demme–a director who came up under the tutelage of Roger Corman, able to adopt then immediately shed genres at whim–corners Starling within the confines of a “Woman in Peril,” only to watch her shrug off every label thrown at her, is a testament to The Silence of the Lambs as feminist, not because it so thoroughly inhabits a female point of view, but because its violence and fear is the stuff of masculine toxicity.
Demme’s film is only the second to adapt Thomas Harris’s Hannibal Lector novels to the screen, but it’s the first to draw undeniable lines between the way men see Clarice Starling and the way that serial killer Buffalo Bill (Ted Levine) projects his neuroses onto his victims.
Demme (and Harris) links seeing to transformation to one’s need to consume, all pursued through a gendered lens, represented by the seemingly omniscient perspective of Hannibal Lector (Anthony Hopkins), a borderline asexual cannibal who literally eats those over whom he holds court.
Buffalo Bill is a monster, and so is Lector, but the difference is that Lector does not attempt to possess Clarice Starling, though he sees her, because he is in control of that which he consumes. Buffalo Bill isn’t; as a man he believes that by consuming femininity he can become it, too stupid and too self-absorbed to realize that consumption is deletion, that wanting to protect a woman is only a matter of admitting that the World of Men is a weak and evil failure of the very ideals it strives to preserve. –Dom Sinacola
Director: Yeon Sang-ho
Stars: Gong Yoo, Ma Dong-seok, Jung Yu-mi, Kim Su-an, Kim Eui-sung, Choi Woo-shik, Ahn So-hee
Runtime: 118 minutes
Love them or hate them, zombies are still a constant of the horror genre in 2016, dependable enough to set your conductor’s watch by. And although I’ve probably seen enough indie zombie films at this point to eschew them from my viewing habits for the rest of my life, there is still usually at least one great zombie movie every other year.
In 2016, that was Train to Busan, a film that has since been added to our list of the 50 Best Zombie Movies of All Time. There’s no need for speculation: Train to Busan would undoubtedly have made the list. This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama.
It concludes with several action elements that I’ve never seen before, or even considered for a zombie film, and any time you can add something truly novel to the genre of the walking dead, then you’re definitely doing something right. With a few memorable, empathetic supporting characters and some top-notch makeup FX, you’ve got one of the best zombie movies of the past decade. –Jim Vorel
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Favreau, Jean Dujardin, Jon Bernthal
Runtime: 180 minutes
The decade’s been both kind and not so kind to good ol’ Marty, ten years of bad takes questioning his credentials for directing Silence, for denying Marvel movies the honorific of “cinema,” for forcing audiences to showers en masse following screenings of The Wolf of Wall Street.
And yet it’s impossible to keep him down; he’s immune to controversy and he thrives on lively debate, which is why, at 70 years old, his chronicle of the life, times and crimes of Jordan Belfort (Leonardo DiCaprio)–a stock broker and inveterate fraudster who bilked over 1,000 schlemiels, suckers and saps out of billions (and got off easy)–feels like something an artist half his age directed.
The Wolf of Wall Street is a pissed off film.
It’s also a horny, pervy, brutal, an impeccably made and fundamentally hideous film. At every passing image, Scorsese’s white-hot rage burns around the edges of the frame. The director has his own beefs and conflicts with his Christian faith, but here his presence is felt as a furious deity sitting in judgment on the fun Belfort has screwing over his clients, two-timing his first wife, jerking around his second wife and doing more blow in three hours than Scorsese himself did in the 1970s and ’80s.
The easy knock to make against this movie is that it endorses the finance bro culture it navigates over the course of its running time, because at no point does Scorsese impose manufactured morality on what happens in front of us; instead he plays the hits as Belfort wrote them, showing the audience exactly what Belfort did while running his company, Stratton Oakmont, and while running around on his spouses.
That the film ultimately ends with Belfort out on the prowl again is the ultimate indictment: Being rich allowed this man to get away with financial murder, because being rich, in the end, makes everything better. “Being rich makes everything better,” for some, is the movie’s embraced philosophy, but The Wolf of Wall Street doesn’t appreciate displays of wealth unhinged.
It reviles them. Scorsese puts energy into the film, a spring in its every greedy step; one could call such debauchery without consequences a “good time.” But The Wolf of Wall Street doesn’t care about that kind of time as much as it cares about hanging Belfort out to dry. –Andy Crump
Director: John Landis
Stars: David Naughton, Jenny Agutter, Griffin Dunne, John Woodvine
Runtime: 97 minutes
Few directors have ever displayed such an innate tact for combining dark humor and horror the way John Landis does. At the height of his powers in the early ’80s, one year removed from The Blues Brothers, Landis opted for a much dirtier, grittier, scarier story that stands as what is still the best werewolf movie of all time.
When two travelers backpacking across the English moors are attacked by a werewolf, one is killed and the other infected with the wolf’s curse. Haunted by the simultaneously unnerving and hilarious visions of his dead friend, he must decide how to come to terms with the monster he has become, even as he strikes up a relationship with a beautiful nurse played by Jenny Agutter.
The film lulls you into comfort with its witticism before springing shocking, gory dream sequences on the viewer, which repeatedly arrive unannounced. The key moment is the protagonist’s incredibly painful, traumatic full transformation, set to the crooning of Sam Cooke doing “Blue Moon,” which is still unsurpassed in the history of the genre.
Legendary FX and monster makeup artist Rick Baker took home the first-ever Academy Award for For Best Makeup and Hairstyling for creating a scene that has given the wolf-averse nightmares ever since. – Jim Vorel
Director: James Cameron
Stars: Arnold Schwarzenegger, Linda Hamilton, Michael Biehn, Paul Winfield, Lance Henriksen
Runtime: 108 minutes
James Cameron’s first Terminator (and second feature) is less of a pure-popcorn action flick than its upscaled sequel, but that makes it all the more terrifying of a movie–dark, somber, replete with a silent villain who calmly plucks bits of his damaged face off to more precisely target its victims.
The task in front of Kyle Reese (Michael Biehn) and Sarah Connor (Linda Hamilton) seems so insurmountable–even with a soldier from the future, going after the T-800 (Arnold Schwarzenegger, duh) with modern weapons is so ineffectual, it’s nearly comical.
It’s as if Schwarzenegger is playing entropy itself–entropy seemingly a theme of The Terminator series, given the time-hopping do-overs, reboots and retreads since. You can destroy a terminator, but the future (apparently driven by box office receipts) refuses to be changed. –Jim Vorel
Director: Kenneth Lonergan
Stars: Casey Affleck, Michelle Williams, Kyle Chandler
Runtime: 137 minutes
Loss and grief–and the messy, indirect ways people cope with the emotional fallout–were the dramatic linchpins of writer-director Kenneth Lonergan’s first two films, You Can Count on Me and Margaret. And so it is again with Manchester by the Sea, a commanding, absorbing work in which the sum of its impact may be greater than any individual scenes.
As opposed to the intimate, short-story quality of You Can Count on Me, Manchester by the Sea bears the same sprawling ambition as Margaret, Lonergan draping the proceedings in a tragic grandeur that sometimes rubs against the film’s inherently hushed modesty.
Casey Affleck as Lee Chandler is quietly magnetic as a man who can’t express himself at a time when he really needs to step up and be the patriarchal figure. Lucas Hedges and Kyle Chandler are also both quite good, their characters buried deep in the man’s-man culture of the East Coast communities in which the film is set.
But especially terrific is Michelle Williams as Lee’s ex-wife, who has played haunted wives before, in Brokeback Mountain and Shutter Island. Here, though, she really pierces the heart: Her character never stopped loving Lee, but her brain told her she had to if she was ever going to move on with her life.
In this film, she’s actually one of the lucky ones. Tragedies drop like bombs in Manchester By the Sea, and the ripple effects spread out in all directions. The movie’s ending isn’t exactly happy, but after all the Chandlers have gone through, just the possibility of acceptance can feel like a hard-earned victory. –Tim Grierson
10. You Were Never Really Here
Director: Lynne Ramsay
Stars: Joaquin Phoenix, Ekaterina Samsonov, John Doman, Judith Roberts, Alex Manette, Alessandro Nivola
Genre: Drama, Thriller
Runtime: 89 minute
Lynne Ramsay has a reputation for being uncompromising. In industry patois, that means she has a reputation for being “difficult.” Frankly, the word that best describes her is “unrelenting.” Filmmakers as in charge of their aesthetic as Ramsay are rare.
Rarer still are filmmakers who wield so much control without leaving a trace of ego on the screen. If you’ve seen any of the three films she made between 1999 and 2011 (Ratcatcher, Morvern Callar, We Need to Talk About Kevin), then you’ve seen her dogged loyalty to her vision in action, whether that vision is haunting, horrific or just plain bizarre.
She’s as forceful as she is delicate. Her fourth film, You Were Never Really Here–haunting, horrific and bizarre all at once–is arguably her masterpiece, a film that treads the line delineating violence from tenderness in her body of work. Calling it a revenge movie doesn’t do it justice.
It’s more like a sustained scream. You Were Never Really Here’s title is constructed of layers, the first outlining the composure of her protagonist, Joe (Joaquin Phoenix, acting behind a beard that’d make the Robertson clan jealous), a military veteran and former federal agent as blistering in his savagery as in his self-regard. Joe lives his life flitting between past and present, hallucination and reality.
Even when he physically occupies a space, he’s confined in his head, reliving horrors encountered in combat, in the field and in his childhood on a non-stop, simultaneous loop. Each of her previous movies captures human collapse in slow motion.
You Were Never Really Here is a breakdown shot in hyperdrive, lean, economic, utterly ruthless and made with fiery craftsmanship. Let this be the language we use to characterize her reputation as one of the best filmmakers working today. –Andy Crump
Director: Autumn de Wilde
Stars: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Josh O’Connor, Callum Turner, Miranda Hart
Runtime: 132 minutes
WATCH ON AMAZON PRIME
Shot as though each frame were a frothy realist painting, scored as though it were a Chaplin-esque silent film and pulled together by a cast of comedically impeccable performances, Autumn de Wilde’s feature-length debut, Emma., is made up almost entirely of thrillingly executed moments.
More comedy of manners than straight romance, both Jane Austen’s novel and de Wilde’s film take as their subject a happily single Emma Woodhouse (Anya Taylor-Joy), the “handsome, clever, and rich” mistress of an English country estate, as she fills her days as by mounting a series of ego-driven (if well-intentioned) matchmaking schemes.
Signaled by the film’s opening in the soft dawn hours of the village’s latest Emma-orchestrated wedding day, these schemes have a history of being remarkably successful–successful enough, at least, that on one side, Emma has her co-dependent, doom-and-gloom father (a charming, if anxious, Bill Nighy) cautioning her not to start any schemes that might take her away from him, while on the other, she has the Woodhouses’ handsome family friend,
Mr. Knightley (a refreshingly fiery Johnny Flynn),
cautioning her against riding so high on her previous matchmaking coups that she starts an audacious scheme even she can’t pull it off. Beyond creating what would be a solid moviegoing experience in any context, the warm, boisterous sense of community this deep attention to detail works to build is, as Paste’s Andy Crump highlights in his thoughtful interview with de Wilde and Taylor-Joy, exactly what any 2020 take on a 205-year-old comedy of manners needed to cultivate.
With our current cultural moment defined by protracted digital isolation and anonymity-enabled cruelty, de Wilde’s Emma. could do best by leaning so hard into Austen’s original that, for its two-hour runtime, its audience might feel collectively transported.–Alexis Gunderson
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Who is Dr Mario Molina? Why Dr Mario Molina is Famous? When He Died?
Now days Dr Mario Molina came in news, On March 19 Google is honored, Dr Mario Molina that’s why he searched more all over world now days. Google is honoring the works and legacy of legendary Chemistry expert Dr Mario Molina with a whimsical new Google Doodle on March 19, which marks his 80th birth anniversary. He played an essential role in early detection of global warming’s effects on Earth.
Dr Mario Molina was a Nobel Laureate and won the 1995 Nobel Prize for his role in discovering an ozone hole and its cause. Additionally, he was one of the first to recognize the detrimental effects of chlorofluorocarbons (CFCs) on Earth.
Who is Dr Mario Molina?
Mario Jose Molina Henriquez, better known by his nickname Mario Molina, was a Mexican chemist who made numerous groundbreaking discoveries regarding climate change effects on Earth. One such discovery was the hole in the ozone layer caused by chlorofluorocarbon gases.
Dr Molina was one of the researchers who was able to detect a hole in the ozone layer, which is essential for protecting all living beings on Earth. Furthermore, his studies highlighted the devastation caused by chlorofluorocarbons on our planet.
Dr Mario Molina had such a fascination for science that when he was young, he converted his bathroom into an experimental laboratory to study microscopic organisms using his toy microscope that his parents gave him as a gift as children.
After dedicating his life to scientific research, he became one of the first scientists to detect that ultraviolet radiation was reaching earth through an opening in the ozone layer caused by chlorofluorocarbons – chemicals commonly found in air conditioners, aerosol sprays, and more.
This groundbreaking research revealed the devastating consequences of global warming and provided impetus to pass the Montreal Treaty, an international agreement which successfully prohibited production of nearly 100 ozone-depleting chemicals.
Why Dr Mario Molina Famous?
Dr. Molina was one of the researchers who exposed how chemicals deplete Earth’s ozone shield, which protects humans, plants and wildlife from ultraviolet light damage. As co-recipient of the 1995 Nobel Prize in Chemistry, she recognized for her work.
When did Mario Molina die?
Mario Jose Molina (born March 19, 1943 in Mexico City and deceased October 7, 2020 in Mexico City) was a Mexican-born American chemist who shared the 1995 Nobel Prize for Chemistry with colleagues F. Sherwood Rowland and Paul Crutzen for their research in the 1970s on decomposition of Earth’s ozonosphere – protecting Earth from harmful solar radiation.
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Inter vs Juventus 1 Milan 0: Initial Reaction and Random Observations
Inter vs Juventus is the most trending topic today Ever since he entered the lobby at Continassa, Filip Kostic has done one thing consistently: cross the ball. And then cross it again. And again. And again.
Kostic, of all Juventus’ attacking players, averages one of the fewest shots per game. His priority appears to be setting his teammates up rather than shooting himself in the foot.
On Sunday, however, it was his shooting that proved most valuable.
Kostic’s 23rd-minute strike had potential VAR controversy attached stood tall as Juventus held off Inter’s second-half comeback attempt with one of their most impressive defensive displays of the season.
No matter what Inter threw Juve’s way, their defense proved up to the task and then some. That was always going to be true once Kostic found the back of the net, and Juve played as well as anyone could have hoped they would after that goal.
Would achieve another goal have been beneficial to your blood pressure?
On a night when Juventus hunkered down and allowed Inter to enjoy 69 percent of the ball, it was clear that Inter should have won by more than just 1-0.
Even with the possible points penalty that could be taken away within a few weeks, Juventus remains seven points off fourth place – not a European spot but just off it! That puts them in FOURTH PLACE right now.
(If the points penalty is reversed, Juve would be in second place behind soon-to-be Scudetto winners Napoli. That is different than our initial assessment when the penalty was first given. And yet…)
Juventus had a plan of trying to score an early goal and then execute defensively as well as they could. Given how well they counterattacked Inter, the final score could have been significantly different; but consider this: Juventus were going out with the intention of trying for an early goal and ultimately succeeding.
- Inter had two and a half times more total shots than Juventus
- Inter and Juventus had exactly the same number of shots on goal in both matches
Inter had three shots on target and Wojciech Szczesny made two excellent saves – however for much of this game he either watched a shot go high and/or wide or for another cross to be cleared by his own hands.
Inter had plenty of possession, but their attempts at breaking down Juventus weren’t particularly successful. This was one of Juventus’ strongest defensive displays for a reason – especially after some nerve-wracking moments in recent Serie A matches against Torino and Sampdoria.
Juventus headed into the international break feeling confident and accomplished a huge week with another victory against their arch-rivals. You couldn’t have drawn it up any better when it came to playing two final games before the first break of 2023.
Juventus are well aware of what awaits them in April, and this is certainly a positive development to witness.
Random Thoughts and Observations
- Think Sole Szn Before Playing No. 1!
- Pregame Thought No. 2: Juventus’ starting lineup against Inter averages 26.8 years old.
- Post-Game Thought No. 1: It would be wonderful if Federico Chiesa’s knee could stop all these minor injuries so we can finally see someone who has endured enough over the last 15 months.
- At the start of the second half, Inter had attempted more passes than Juventus had attempted – yet who had the lead? You guessed it right – the team with fewer attempts.
- Leandro Paredes received a red card for his involvement in post-game activities after the final whistle. A dear friend of mine texted me after the game that this was “Leandro’s most memorable Juventus stint contribution.” I can only agree with that assessment!
- Noteworthy from that postgame stuff: Nicolo Fagioli wanted all that smoke! Our boy doesn’t care who it is or what the context is; he’s going to fight for this shirt and I adore him so much for it.
- Another word on Fagioli: In his two Derby d’Italia appearances, he’s delivered. He scored the game-winner against Inter and then played superbly against Napoli at home on Sunday night – what an incredible player!
- One last Fagioli observation: This performance should have been shown to Roberto Mancini with the caption, “Under-21 again? REALLY?” and then left there for him to watch over and over.
- Hasn’t Federico Gatti earned himself some more playing time with his two performances over the last four days? Wow! He truly has amazed me, hasn’t he? Celebrating a late-game clearance like some of our old teammates used to during Juve’s decade-long Serie A dominance makes my heart go pitter-patter and makes me feel all warm inside.
- Bremer had about 540 clearances in the air. That may be a few too many, but I feel confident that it was within this range.
- What number of different Inter strikers would you find in Bremer’s pockets?
- Sign Adrien Rabiot to multi-year contract extensions for the rest of his career and ensure his success. Do it.
- Manuel Locatelli was an unstoppable force defensively. What a performance!
- Juventus’ midfield, as a unit, was outstanding. The Fagioli-Locatelli-Rabiot trio has clicked perfectly together and now that they’ve had some time together, they seem to have found an efficient rhythm. That is exactly how a functional midfield should look — which is ironic considering two of Juventus’ highest-paid midfielders have contributed next to nothing this season!
- On Thursday night, Matias Soule was much like Giorgio Gatti in that he was the biggest surprise starter. While not as impressive as some of his recent appearances off the bench, you cannot deny that at 19 years old he seemed relatively unphased by starting in what could potentially be his biggest game yet for Juventus.
- No matter how often Dusan Vlahovic gets limited touches, Romelu Lukaku ended the night with 23 touches – that’s right: 23 touches! That’s right: twenty-three!
- After this game, I can only speculate as to how these players feel physically. Look at Mattia De Sciglio as he left after taking a late sub – he looked absolutely spent and had nothing left in the tank. It’s impossible to know exactly how these players actually feel inside after such intense competition, but one thing’s for certain: none of them appear physically fatigued.
- Salutations to Sergio, who witnessed his team Checo get the win in Jeddah and then Juventus upset Inter. What an incredible sports Sunday for one of BWRAO’s favorite people!
- God, I adore it when Juventus beat Inter. It’s just so satisfying. Have a wonderful evening everyone; I know I will. Enjoy your night – I know I will!
UBS Will Significantly Reduce Their Holdings Of Credit Suisse Over The Course Of The Coming Weeks
Even before Credit Suisse Group AG’s government-brokered takeover, the Swiss lender had begun cutting 9,000 jobs to save itself According to people familiar with the negotiations, rival UBS Group AG has agreed to acquire the troubled bank. One person estimates that the final cost could be multiples of that figure.
This merger creates significant overlaps. At the end of last year, both lenders employed almost 125,000 staff members worldwide – approximately 30% in Switzerland.
UBS Chairman Colm Kelleher cautioned against estimating a job-cut number, but the bank indicated it will be significant. UBS announced in a statement Sunday that they plan to reduce the combined company’s annual cost base by more than $8 billion by 2027 – nearly half of Credit Suisse’s expenses last year.
Also Read: The Top 5 Reasons Your Credit Card Was Declined
Kelleher said UBS was determined to keep Credit Suisse’s profitable Swiss unit, despite concerns about concentration in the domestic market from this deal. He further clarified that they are enthusiastic about Credit Suisse’s wealth management business but less so about its investment bank; as a result, any hopes for a CS First Boston spinoff likely came to an end.
At Sunday’s press conference, Kelleher declared with precision: UBS intends to reduce Credit Suisse’s investment banking business and align it with our conservative risk culture.
Also Read: In The Event Of An Emergency, How Can Someone With Poor Credit Get A Loan To Cover The Costs?
The UBS chairman acknowledged the uncertain times ahead for Credit Suisse staff and promised his firm would do its best to minimize any disruption as much as possible.
Kelleher and UBS Chief Executive Officer Ralph Hamers will remain in their roles in the combined entity. A representative from FINMA, Switzerland’s regulator, confirmed at a press conference that Credit Suisse’s management will stay until after the deal closes; then their future becomes up to UBS to decide.
In Asia, where both firms are among the largest wealth managers, the deal carries with it the potential risk that clients who currently have money with both may shift part of it to a competitor in an effort to diversify away from one firm’s exposure.
On Tuesday, Credit Suisse Chief Executive Officer Ulrich Koerner disclosed that his firm had already reduced employee numbers by approximately 8%.
This story has been reproduced from a wire agency feed without any changes made to the text. Only the headline has been altered
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