Mark Wynter

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UK compilation of early 60s heartthrob, featuring all his Pye recordings including A's and B's, two exclusive EPs and a rare comeback single from 1974. 56 tracks including 'Venus In Blue Jeans' and 'Go Away Little Girl'.

2006 Issued Digitally Remastered Definitive 2-CD Set with Every Wynter Recording for Pye in the 1960s, Before Ending with Two Tracks Not Issued at the Time and a Rare "Comeback" Single from 1974.

Something's wrong in the town of Santa Mira, California. At first, Dr. Miles Bennell (Kevin McCarthy) is unconcerned when the townsfolk accuse their loved ones of acting like emotionless imposters. But soon the evidence is overwhelming--Santa Mira has been invaded by alien "pods" that are capable of replicating humans and taking possession of their identities. It's up to McCarthy to spread the word of warning, battling the alien invasion at the risk of his own life. Considered one of the best science fiction films of the 1950s and '60s, this classic paranoid thriller was widely interpreted as a criticism of the McCarthy era (that's Senator Joseph, not actor Kevin), which was characterized by anticommunist witch-hunts and fear of the dreaded blacklist. Some hailed it as an attack on the oppressive power of government as Big Brother. However viewers interpret it, this original 1956 version of Invaders of the Body Snatchers (based on Jack Finney's serialized novel The Body Snatchers) remains a milestone movie in its genre, directed by Don Siegel with an inventive intensity that continues to pack an entertaining wallop. Look closely and you'll find future director Sam Peckinpah (an uncredited cowriter of this film) making a cameo appearance as a meter reader! --Jeff Shannon

The title character of Molly, played by Elisabeth Shue (Oscar nominee for Leaving Las Vegas), suffers from one of those afflictions that are only found in Hollywood movies: she's sort of mentally challenged, sort of autistic--but only enough to give her a childlike appreciation of rhythmic water fountains and The Wizard of Oz. An operation that somehow activates brain cells brings Molly to a more sophisticated level of intelligence, much to the astonishment and joy of her brother Buck (Aaron Eckhart, playing a much more sympathetic character than he did in In the Company of Men). Then, when her brain cell progress becomes threatened for some unclear reason, Molly and Buck are faced with her mental reversal. Aside from being scientifically dubious and somewhat insulting to mentally challenged people and their families, the developing sibling relationship has an emotional pull. Eckhart brings a quiet dignity to his role, lending a bit of realism with his understated performance. Shue, though saddled with an impossible character, has moments of naked emotion that almost make Molly believable. Thomas Jane (Deep Blue Sea), as a medical assistant with a never-explained "learning disability," does all he can with his equally inconsistent part but fares less well. Molly wants to be a combination of Forrest Gump and Flowers for Algernon, movies about discovering the meaning of life through an appreciation of simple things, but falls short. --Bret Fetzer

Brittany Murphy uses her ditzy/sexy combination to maximum effect in Uptown Girls. Molly Gunn (Murphy) is an heiress living off the estate of her dead rock star father--until an unscrupulous accountant embezzles everything and Molly has to get a job. After a failed attempt at retail work, Molly finds herself as the nanny for a prematurely humorless and rigid little girl named Ray (Dakota Fanning, I Am Sam), whose music mogul mother Roma (Heather Locklear) hardly ever sees her. Meanwhile, Molly woos an English musician who's trying to get a record contract from Roma. Unsurprisingly, Ray teaches Molly to take some responsibility for herself, while Molly gives Ray the opportunity to become the child she is--but despite the formulaic quality of the story, the two actresses play off each other well, and something unexpectedly touching emerges. Also featuring Marley Shelton (Sugar & Spice). --Bret Fetzer

Spoiled socialite Brittany Murphy has never had to work a day in her life, but when a shady business manager makes off with all her money, she's forced to take a job as nanny for the precocious daughter (Dakota Fanning) of a high-powered record exec. Murphy gets more than she bargained for when her young charge proves to be considerably more mature than she is. Delightful comedy also stars Marley Shelton, Heather Locklear, Donald Faison. 92 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital Surround, Spanish Dolby Digital Surround; Subtitles: English, French, Spanish.

Arnold Schwarzenegger finally meets the screen foe he may not be able to defeat--himself--in this imaginative sci-fi thriller. In the near future, helicopter pilot Arnold discovers that a sinister genetic engineering firm has created a clone of him, and now that double is living with his family. Can Schwarzenegger get to the bottom of what happened and reclaim his identity? Robert Duvall, Tony Goldwyn, Michael Rapaport also star. 124 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1.

For a movie about cloning, it's only appropriate that The 6th Day, starring Arnold Schwarzenegger, is instilled with a strong sense of déjà vu, namely from Arnold's previous "Who am I?" outing, Total Recall. In that movie, Arnold is a normal Joe who discovers that his entire reality has been co-opted by an evil conspiracy, and has to take his life back by force. The same premise applies here for Roger Spottiswoode's clever if overlong sci-fi thriller--Arnold thinks he's a regular guy leading a regular life, until a twist of fate puts him on the lam from a vast conspiracy that's replaced him with a clone. While he's trying to evade the evil genetics corporation--and its trendy, deadly, clone-friendly assassins (who don't care how many times they're killed: there's more where that came from)--his double is snuggling at home with his wife and daughter. And new legislation outlaws the existence of human clones, so somebody's got to go. But who gets to be live and who gets to be the dead Memorex man? Why does said genetics corporation want to clone people? How does the kindly scientist (Robert Duvall) fit in? What's the mystery behind the slick billionaire (Tony Goldwyn) who runs everything? It's all kind of irrelevant in the end, as long as it provides a chance for Arnold to indulge in some energetic mayhem and explosive action. What distinguishes The 6th Day is its sneaky, humorous--and chilling--look at the near future, taking everyday technological advances and turning them up just a couple notches, envisioning an era with cloned pets, virtual girlfriends, and computers running most everything, from the refrigerator to your car. Arnold is supposed to be a throwback to the "real" world--you can tell because he cherishes his vintage, navigation-system-free Cadillac--but as usual, he just brings his behemoth presence to the role and not much else. Still, he's a friendly enough hero, and he rolls with the punches (literally) all the way through to the end. Too bad the film overstays its welcome by about half an hour--a little shorter and it could have been a breezy sci-fi/action romp. With scene stealers Michael Rooker, Sarah Wynter, and Rod Rowland as the trio of cloned assassins who always come back--again and again. --Mark Englehart

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1869. Excerpt: ... EARLY WARNINGS. The spirit of man is ever busy pushing his investigations farther and farther into the secret workings of Nature--step by step he is tracking her into her inmost recesses; and if he despairs of ever reaching the final cause of things, he at least is rewarded by the ample knowledge and subtle beauty he finds on the way. Before the microscope was discovered, what realms lay unknown at his feet! The mind has no microscope, it is true, by which immaterial things can be tracked upwards to their source; but its penetrative powers grow vastly subtle by the habit of concentrating them upon any particular study, and the merest trifle to the educated eye assumes proportions not to be estimated by the superficial observer. We remember hearing it said of the late Dr. Marshall Hall, that he could not bring his acute and persistent mind to bear upon a gooseberry without finding out some fact and deducing some great truth from it that had never struck any person before. Of late years the science of mind, healthy and diseased, has been placed, as it were, in the field of the intellectual microscope, and since the appearance of Dr. Abercrombie's "Inquiries Concerning the Intellectual Powers/' which created such a profound sensation thirty years ago, numerous investigators have been engaged in following up the clue he placed in their hands. That there is an immense amount of latent brain disease in the community, only awaiting a sufficient exciting cause to make itself patent to the world, there can be no manner of doubt. In the Annual Reports of our Lunatic Asylums, we see tables of the causes of the insanity of the inmates, which would lead the public to believe that certain powerful emotions were sufficient to disorganize the material instrument of thoug...