’90s Movies With Terrible Rotten Tomatoes Scores That Are Actually Awesome

The 1990s, the last decade of the 20th century, was a rich period for cinema, filled with films that left lasting impressions. A wave of new talent and unique voices emerged during this time, boosted by a vibrant indie scene and the arrival of filmmakers such as Quentin Tarantino and Cheryl Dunye. The impact of these 1990s movies on the world is still felt today, though some were initially met with skepticism or outright dismissal. Many films that are now recognized as cult classics or hidden gems faced harsh criticism or even ridicule upon release. These movies carried the weight of poor reviews like an albatross around their necks, as indicated by their low Rotten Tomatoes scores.

Over the years, films that were once given poor ratings on aggregator sites have unexpectedly gained more appreciation. The qualities that were once criticized in 1990s theater releases are now being recognized and giving these movies a second chance at success. Despite their varying artistic merits, what ties this diverse collection of projects together is that they all initially received negative reviews which can still be found on their Rotten Tomatoes pages. If you delve deeper into these films beyond the original reviews, you’ll find a wealth of cinema showcasing how prosperous and innovative the film industry was during that decade.

Drop Dead Gorgeous

Comedy, in general, is based on personal preference, but dark comedy can be particularly tricky and complex, much like a thorny pear. What some may find hilarious about grim portrayals of everyday life might seem harsh or even offensive to others. Throughout the years, dark comedies have frequently faced initial criticism, yet they often gain recognition from those who appreciate their unique brand of humor. This was the case with “Drop Dead Gorgeous,” a 1999 mockumentary by Michael Patrick Jann that follows a small-town beauty pageant where things take a deadly turn as contestants push themselves to extremes in their quest for victory.

Initially, the film “Drop Dead Gorgeous” was met with indifference by most critics, who felt that it lacked nuance and originality. Some even criticized it as a repetition of themes already explored in other dark comedies. With mixed reviews and moderate box office earnings, it appeared that the curtain had fallen on “Drop Dead Gorgeous” at that point.

Over the years, I’ve found myself continually drawn back to the quirky charm of “Drop Dead Gorgeous.” The more I watch it, the more I appreciate its innovative mockumentary style. As our cultural awareness grows about the absurdity of beauty pageants, this film seems to resonate even more with audiences. With a cast full of future Hollywood heavyweights like Kirsten Dunst and Amy Adams in her debut, it’s no wonder that “Drop Dead Gorgeous” keeps attracting new fans. And while black comedy isn’t everyone’s cup of tea, the dark humor in this film has proven to be its secret sauce.

Mars Attacks!

Mars Attacks!” is a film where critics are correct in identifying its imperfections, but what they view as weaknesses are actually its strongest points. In the hands of Tim Burton, this alien invasion movie is a chaotic, energetic spectacle fueled by comedic whims reminiscent of ADHD, with famous landmarks and stars meeting their doom at the hands of extraterrestrial invaders. To some viewers, this might feel like an aimless production, but for others, it’s a refreshing change from the rigid narrative conventions that often characterize big-budget American blockbusters. Instead of traditional character development or climactic structures, we get to watch Jack Nicholson getting killed by aliens not once, but twice!

Despite the fact that the computer-generated aliens may not have aged as gracefully as the vintage 1960s stop-motion effects intended, numerous aspects of “Mars Attacks!” still hold up visually. The contrast between extravagant sets and miniatures used in a film with a humor reminiscent of a Looney Tunes cartoon remains enjoyable and fresh. Additionally, director Tim Burton skillfully creates some genuinely strange, unsettling visuals, such as a chihuahua’s head being attached to Sarah Jessica Parker’s body. Critics were correct in saying that “Mars Attacks!” is essentially a series of absurd gags, but it’s precisely this quirkiness that makes it endearing, especially when compared to Burton’s later works.

Con Air

In comparison to other action films produced by Jerry Bruckheimer during the 1990s, “Con Air” received slightly higher ratings than some of its contemporaries. Critics, however, were still divided about this 1997 film starring Nicolas Cage and John Malkovich, which revolved around aerial action packed with explosions. Those who didn’t appreciate it found it a tedious watch filled with expected plot points, despite running for only 115 minutes, making it feel excessively long. Today, though, “Con Air” offers a refreshing break from the overly digital modern blockbusters that often star interchangeable leading men like Charlie Hunnam.

The movie “Con Air” showcases stunning natural landscapes and larger-than-life acting that makes a lasting impact. Cage and Malkovich devour every bit of scenery they come across, while Steve Buscemi shines as a highly dangerous prisoner with an unconcerned demeanor. Additionally, the action sequences are skillfully executed, featuring numerous explosions that appear so authentic you might involuntarily move away from the screen.

Con Air” movie has some unique, unexpected moments, such as frequently playing the romantic ballad “How Do I Live,” which seems out of place with the rest of the film. However, this choice by director Simon West to include such an incongruous song years ago is now endearing. Despite what critics say, give “Con Air” a try and enjoy the flight!

Event Horizon

1997’s “Event Horizon” was criticized in a manner that is typical of films produced by director Paul W.S. Anderson, who is also known for “Resident Evil” and “Monster Hunter.” Critics generally appreciated the film’s initial scenes but found the rest to be excessively predictable. Notably, Roger Ebert pointed out that the movie fell short of realizing its central premise’s intellectual potential.

Despite being somewhat less polished compared to Paul W.S. Anderson’s later films, “Event Horizon” is still a compelling watch with numerous intriguing elements. For instance, its suspenseful narrative revolving around characters like Dr. William Weir (played by Sam Neill) experiencing psychological torment in space is genuinely unsettling. Moreover, the film’s climax ventures into peculiar realms that display a daring attempt to push the boundaries.

The extraordinary space matter depicted in this film is skillfully handled by two seasoned actors who wouldn’t be able to deliver their roles mechanically even if they wanted to. Laurence Fishburne provides a solid foundation for the chaos portrayed in “Event Horizon,” while Sam Neill’s acting is captivating when he appears to be losing his sanity on screen. Notably, Kathleen Quinlan and Jason Isaacs also leave lasting impressions with their performances. Although issues like last-minute editing of “Event Horizon” footage can be found in the final product, the film offers more than its initial reception or director’s reputation might lead you to believe.

Hard Target

In simpler terms, when “Hard Target” was first released, John Woo’s debut American action film, it didn’t receive the most positive reviews. The dialogue and the way the story was told were particularly criticized, while many felt that Woo toned down his unique creative style for a domestic audience. Despite not being as great as “Hard Boiled,” it’s still an entertaining movie to watch.

As a gamer, I can hardly dispute a game that offers Kasi Lemmons stashing a lit birthday cake in a desk drawer or a protagonist like Jean-Claude Van Damme catching a snake mid-attack! Plus, it’s got some incredible performances from actors such as Lance Henriksen and Wilford Brimley – the latter even riding away from an explosion in a scene that sticks in your mind forever.

In simple terms, “Hard Target” stands out among its action movie peers due to its smart budgeting of story elements, which is not common in similar films. The runtime is short, just 97 minutes including credits, allowing the film to focus more on exciting action scenes and humorous dialogues rather than being weighed down by unnecessary melodrama or superfluous subplots. Additionally, the setting of New Orleans provides some truly enjoyable backdrops for Jean-Claude Van Damme to fight off bad guys in. Although it’s not a cinematic masterpiece even within the 90s action film genre, “Hard Target” should have earned a better reputation than it initially did.

Armageddon

Michael Bay, the director, simultaneously produced several movies around the time of “Armageddon”, a film that became known for its massive scale in disaster movies from the 90s. It also bore a faint resemblance to the grand romance depicted in “Titanic”. However, this combination was not met with favor by critics. This movie, which seemed to lack cohesion, was heavily criticized for its overly emotional scenes and poor dialogue.

While some people found the movie “Armageddon” to be a peak of ’90s blockbuster overkill, others thought it was mindlessly entertaining. Some lines like “What are you doing with a gun in space?” can be funnier than most jokes in standard comedies. The film also had an unusual mix, featuring characters making jokes about hating their wives and attempting heartfelt teenage love stories at the same time.

The second aspect features unusual scenes such as A.J. (Ben Affleck) and Grace (Liv Tyler) sharing an “erotic” scene involving animal crackers, just a few days before Earth’s apocalypse. Bay’s attempt to emulate the drama of “Love Story” falls flat, but it remains captivatingly entertaining. “Armageddon” is filled with such scenes, lacking in their intended impact yet strangely captivating. Even the emotional climaxes through self-sacrifice are surprisingly touching, despite the heavy-handed dialogue. Perhaps “Armageddon” is as bad as critics claim, but it’s far more enjoyable to watch than other Bayhem movies like “Transformers: Revenge of the Fallen” that have also been panned by critics.

Just Another Girl on the I.R.T.

While “Just Another Girl on the I.RT.” might not have as impressive a Rotten Tomatoes rating as “Zack Snyder’s Justice League”, don’t dismiss the chance to explore Leslie Harris’s 1992 directorial debut. The movie revolves around Chantel Mitchell, portrayed by Ariyan A. Johnson, who thought she had her future mapped out, but an unforeseen pregnancy disrupts her life completely. Critics have pointed out the film’s tonal inconsistencies as a flaw, yet it’s precisely this aspect that gives “I.R.T.” its unique charm and depth.

As a devoted fan, I must say Harris skillfully portrays the complex, unpredictable aspects of growing up, effortlessly traversing diverse emotional landscapes. A film that begins with breezy, witty dialogue only to plunge into a heart-wrenching third act mirrors the rollercoaster ride of life during our formative years – taking us to places we never thought we’d go.

In “Just Another Girl on the I.R.T.”, Harris skillfully employs a subtle approach to cinematography, a quality that wasn’t often recognized in the film’s initial reviews back in the ’90s. However, this aspect of the production effectively creates an emotionally engaging atmosphere. The performances of actors like Johnson add authenticity to the characters, further enhancing the overall impact. Initially, “Just Another Girl on the I.R.T.” was viewed as a typical coming-of-age indie film. Today, it is appreciated as something much more unique and deserving of greater recognition.

Double Team

After seeing “Double Team” for the first time, you might think it’s a bizarre, hallucinatory experience. With Dennis Rodman sporting a peculiar green-hued haircut and a plotline where Jean-Claude Van Damme’s character, Jack Quinn, finds himself stranded on an island reminiscent of “The Prisoner,” it’s hard to explain otherwise. Add to that the mysterious monks who seem to have exceptional computer abilities, and you have a wild mix of action movie ideas thrown together and blended with iconic Roman locations. In the end, it’s a vending machine that saves the day in this film that was widely panned by critics when it initially debuted.

As a gamer, I can say that playing “Double Team” was like diving headfirst into an unpredictable, chaotic game world. Despite the fact that Rodman’s character Yaz didn’t quite live up to expectations, making the movie not everyone’s cup of tea, the raw, unhinged energy director Tsui Hark brought to this action flick was undeniably fun. It’s a film that’s more about throwing surprises at you than maintaining cohesion, and it does so with such audacity that it outshines many technically more “coherent” action films.

The chemistry between Van Damme and Rodman might have been lackluster, but there were moments of sporadic humor in their interactions. In a nutshell, “Double Team” is a messy game, but it’s never dull. Even the climactic battle between good and evil found room for an unexpected addition – a tiger! Yes, you read that right. A tiger. This wild card certainly adds some points to the game, helping to offset some of Rodman’s questionable line deliveries. In short, “Double Team” is a chaotic, unpredictable, yet entertaining game that never fails to keep you engaged.

Summer of Sam

In July 1999, when Spike Lee’s movie “Summer of Sam” debuted in cinemas, both critics and audiences gave it harsh ratings. The film received a poor CinemaScore of D- from the audience, which was even more negative than the reviews from critics. Since then, the movie has struggled to shake off this negative reputation as it faded into obscurity over the years following its release. This is unfortunate because Lee’s portrayal of Bronx residents reacting with anger and fear to events like the Son of Sam serial killings and the 1977 New York City blackout is chilling. In other words, “Summer of Sam” was a cinematic tragedy due to its failure to gain recognition for its powerful exploration of that time period’s tumultuous events.

In a straight-forward and easily comprehensible manner: Lee, along with his co-screenwriters Victor Colicchio and Michael Imperioli, do not shy away from portraying the targets of their characters’ fury, which is often directed towards individuals like Vinny (John Leguizamo) who express anger. When they feel powerless, these male characters vent all their frustration on groups such as queer people, peaceful social rebels, and those who challenge societal norms through autonomous behavior, gender fluidity, punk rock, or unconventional sexual practices. These groups are depicted negatively, with the characters clinging to any semblance of power in a chaotic world.

In examining these topics, Lee’s penchant for dramatic exaggeration at times leads to actors delivering intensely over-the-top emotional displays that border on unintentional satire. However, it’s far more common for “Summer of Sam” to offer an enthralling (and sadly relevant) perspective on how adversity often pushes people to oppress the vulnerable instead of challenging the powerful. Lee’s visual acumen is remarkable in this film, especially in a stunning montage synchronized with “Baba O’Riley.” This sequence alone deserves more recognition for “Summer of Sam.

Blast from the Past

Examining Brendan Fraser’s standout films, it’s evident that he excels at portraying endearing characters who find themselves out of their depth in unfamiliar environments. Be it “Encino Man” or “George of the Jungle,” Fraser consistently delivers characters that elicit laughter while also stirring our hearts, making us invested in where these bumbling giants end up. In 1999’s “Blast from the Past,” he reprised this role as Adam Webber, a man who steps into a fallout shelter in 1962 and emerges decades later into an entirely new world. This strange land introduces Eve Rustikov (played by Alicia Silverstone), a woman whom Webber eventually develops romantic feelings for.

1999’s comedy “Blast from the Past,” initially met with mixed reviews due to its familiar plotline in comparison to other comedies at the time. However, despite this initial cool reception, fans continue to appreciate it as a timeless rom-com. One reason for this enduring appeal is the heartfelt and admirable performance of Brendan Fraser, who brings depth to his character, Adam Webber, avoiding the pitfall of portraying him as a mocking caricature. This sincerity makes it easy for viewers to empathize with his struggles. The film also boasts memorable supporting performances from Silverstone and Christopher Walken, ensuring that Fraser isn’t the only one delivering top-notch acting. “Blast from the Past” may not break new ground, but it offers a fun and engaging experience that showcases Fraser’s acting talents at their best.

The Exorcist III

It was a mistake for “The Exorcist” from 1973, a work of genius by William Friedkin, to have spawned any sequels. The unique artistic alchemy that brought it to life cannot be replicated. However, Hollywood often disregards such challenges and chases easy profits, resulting in numerous “Exorcist” sequels over the past 50 years. Among them, only “The Exorcist III,” released in 1990, stands out slightly due to William Peter Blatty, who wrote both the original “Exorcist” novel and this film’s source material, taking on the director’s role.

In this film, main characters such as Lieutenant William Kinderman (played by George C. Scott) dwell in a world marked by suffering. The spirits of the deceased continue to haunt the living, while many yearn for the peace that death may bring. This grim reality serves as the foundation for the story following the events of “The Exorcist.” Although evil was supposedly defeated there, how could the characters possibly carry on with their lives after witnessing such horrors?

Moving forward, a tale unfolds, brimming with skillfully understated frights (such as individuals seemingly possessed quietly moving about on ceilings in the periphery). Striking visuals (including a brief sojourn to the afterlife during a dream sequence) and haunting reflections on life and mortality permeate the film. “The Exorcist III” received more negative than positive critiques upon its debut, with many critics pointing out the somewhat awkward finale. However, over time it has proven itself to be much more than just a rehash of “The Exorcist”.

Small Soldiers

1998’s “Small Soldiers” was often criticized for being a rehash of Joe Dante’s prior, more successful films like “Gremlins”. While the technologically advanced toys in “Small Soldiers” may have caused chaos in suburbia, with their friendly Gorgonites bearing a resemblance to the cute Mogwai (Gizmo) and the malicious Commandos echoing Stripe and the mischievous Gremlins from “Gremlins”, it’s important to note that “Small Soldiers” possesses its own unique appeal. However, despite these individual merits, “Small Soldiers” falls short of matching the brilliance of “Gremlins”.

One interesting aspect is watching horror icon Dante introduce genuinely chilling visuals into a film intended for family viewing. For instance, the scene where the Commandos reanimate Barbie-like dolls as their combatants is perfect nightmare material. Moreover, it’s fascinating to observe skilled actors like Kirsten Dunst interacting with these bloodthirsty toys, and Phil Hartman (in his final live-action film role) brings an extra charm to every scene he appears in. Lastly, the eccentric designs of the Gorgonites are captivating, particularly when their characters are brought to life through puppetry on screen.

Despite showing clear cinematic inspirations, “Small Soldiers” stands out as something more than just a copycat, considering Dante’s classic films make up a significant part of his repertoire. Evaluated independently, it presents itself as an unpredictable blend (a positive remark given the monotony in many studio productions), offering enjoyable action sequences and providing yet another opportunity to appreciate Phil Hartman’s comedic genius.

Super Mario Bros.

1993’s “Super Mario Bros.” is often harshly criticized, and that might be an understatement. In terms of adaptations, this film is a disaster on wheels, abandoning the classic settings and charming characters from the game for hip-hop music, apocalyptic visuals, and an unusual focus on mushrooms. Seth Rogen, who is part of “The Super Mario Bros. Movie” cast, stated that 1993’s “Super Mario Bros.” had a lasting impact on him, but not in a positive way.

The response to “Super Mario Bros.” in its early days mirrors that of most fans. However, looking back on it over 30 years later, there’s a certain endearing quality to this seemingly unconventional blockbuster. Nowadays, cinemas are filled with films striving to recreate elements popular from childhood or the 1980s. What sets “Super Mario Bros.” apart is its boldness in presenting visuals and ideas never before connected with the “Mario” series.

In a committed performance, actors such as Bob Hoskins and Dennis Hopper immerse themselves deeply in the chaotic film, with the latter leaving an indelible impression as his maniacal portrayal of Bowser. The film’s set design and costumes are also noteworthy, showcasing the distinct flavor of the early 1990s. In today’s context, followers of “Mario” can now appreciate a faithful cinematic adaptation of their beloved franchise titled “The Super Mario Bros. Movie.” Perhaps, this gives “Super Mario Bros.” and its uniquely imaginative storyline a chance to receive more recognition, as it defied expectations in such a subversive manner.

Deep Impact

1998 marked the simultaneous release of two summer blockbusters centered around asteroids threatening Earth. These cinematic titans clashed, but it was moviegoers who truly emerged victorious as both films boasted their own distinctive artistic merits. While one film, “Armageddon,” followed a more action-packed and dynamic narrative style, “Deep Impact” presented a more introspective, somber portrayal of the Earth’s impending doom, featuring ample emotional depth. In contrast to “Armageddon,” which highlighted young acting talent from the ’90s like Ben Affleck, Liv Tyler, and Owen Wilson, “Deep Impact” boasted a cast of seasoned actors such as Morgan Freeman, James Cromwell, and Vanessa Redgrave who were prominent figures in numerous Oscar-winning films from the 1990s.

1998 saw contrasting opinions about this film’s more personal narrative style, with some critics labeling it overly sentimental and lacking in grandeur. However, the emotional depth of “Deep Impact” has stood the test of time, particularly moments like a tender goodbye as a tidal wave approaches or a poignant family reunion amidst global destruction, which remain surprisingly touching even today.

Currently, “Deep Impact” stands out as a breath of fresh air amidst today’s blockbuster genre overflowing with witty banter and fast-paced chaos. The inclusion of seasoned actors like Robert Duvall and Morgan Freeman adds a sense of depth to what might otherwise be implausible content. Interestingly, “Deep Impact” differed significantly from other asteroid films released in 1998, making it unique and overlooked by critics at the time due to its unique qualities.

In the Mouth of Madness

From its initial release, “In the Mouth of Madness” garnered supporters, but John Carpenter’s directorial take was often criticized as an overly excessive film. Shaped by the legacy of H.P. Lovecraft’s tales, the movie was commonly seen as too complex to be genuinely terrifying. Moreover, scenes filled with eerie atmosphere and disturbing visuals often elicited indifferent responses from critics, who felt these aspects fell short on delivering the required fright.

After its initial release, “Madness” has developed a significant cult following, similar to Carpenter’s “The Thing.” The elements that initially puzzled critics in 1994 are now recognized as its unique strengths. This movie fully embraces being a cinematic representation of madness, even allowing the unexplained to remain unexplained. John Trent, played by Sam Neill, undergoes a descent into madness that challenges his grip on reality, with no simple explanations for his behavior and no clear reasons for the chaos depicted in the film.

As a gamer immersing myself in the world of “Madness”, I can say that the mystery and uncertainty it presents might be off-putting for some, but it’s what gives this movie its eerie, chilling vibe. The creators, including Carpenter, have shown a creative dedication to crafting an atmosphere unlike any other, even going so far as to deliver a post-apocalyptic epilogue that shatters the norms of mainstream cinema. “In the Mouth of Madness” may be many things, but it’s definitely not as dull as its initial critical reviews would have you believe.

Ravenous

Guy Pearce has taken on numerous demanding roles throughout his career, one of which was the lead in the 1999 film ‘Ravenous.’ This snowy cannibal thriller provided him an opportunity to delve deeply into a period character. While fans of ‘Yellowjackets’ should definitely catch up with this movie, it wasn’t warmly received by critics during its initial theater release. The movie’s attempt to blend Western themes with horror elements was often criticized as confusing rather than entertaining. Critics also found the film’s complex tone and excessive on-screen violence in a cannibal-themed story to be contentious.

Although some viewers may find the graphic content and dramatic shifts in “Ravenous” off-putting, this film is visually stunning. Director Antonia Bird and cinematographer Anthony B. Richmond successfully capture a gritty, tangible vision of mid-19th century America. The visuals alone make “Ravenous” worth watching, but the film’s unwavering commitment to such a somber narrative adds an extra layer of intrigue.

In the movie “Ravenous,” traditionally noble white men from Westerns are portrayed as brutal characters enjoying power and violence instead. The film has a rebellious quality that deserves recognition, and its versatile exploration of various tones makes it appealing to diverse audiences. A unique blend of genres, “Ravenous” is a historical drama with an edge, providing an excellent platform for Guy Pearce’s skills.

Showgirls

In its 1995 debut, Paul Verhoeven’s “Showgirls” wasn’t just met with harsh criticism but was also widely ridiculed, earning the reputation as one of the worst films ever produced. Critics panned aspects such as the exaggerated dialogue, sensational sex scenes, and Elizabeth Berkley’s over-the-top central performance. Yet, upon reevaluation, it appears that people significantly underestimated the film’s merit.

Primarily, it seems that the main point of this movie – exposing how deeply misogyny is embedded within capitalism and American culture, as well as the way these systems often drive women to compete against each other – was largely missed by many viewers. In “Showgirls,” Berkley portrays everything from consuming fast food fries to her other actions without any hint of subtlety because real-world misogyny frequently appears in bold and obvious ways. Looking at the film through this perspective (which is reminiscent of the over-the-top elements found in other Verhoeven films like “RoboCop”) reveals that “Showgirls” becomes a work of great brilliance.

Performance such as Gina Gershon’s bold act exudes courage and confidence. The skillfully crafted cinematography adds intrigue, creating a striking contrast to the sometimes absurd content shown on screen. The daring portrayals of human sexuality in “Showgirls” are also noteworthy. Director Paul Verhoeven strips away any sensuality from scenes like two characters having sex in a hotel pool, leaving only the unapologetic absurdity that characterizes many depictions of sexuality. “Showgirls,” despite its historically negative reputation, is more than just a classic in many aspects.

Frankenhooker

Frankenhooker” – This film title alone is intriguing! So, what’s this movie about? In the world of Frank Henenlotter, we follow Jeffrey Franken (James Lorinz) on a peculiar journey to resurrect his girlfriend, Elizabeth Shelley (Patty Mullen). The storyline, which received mixed-to-negative reviews from critics, is often labeled as grotesque and superficial. However, it’s exactly these aspects that make “Frankenhooker” so captivating.

The film cleverly blends numerous disturbing, realistic special effects (including scenes of sex workers exploding following the use of a potent drug called “super-crack”) with subtle jabs at Reagan-era drug policies and a storyline that builds up to a triumphant moment aptly described as “her victory!” The film’s unique blend of low-budget madness, stunning practical effects, and palpable grittiness (featuring some truly grotesque, sentient dismembered body parts) makes it impossible to resist watching “Frankenhooker.

In the third act, Mullen’s portrayal of resurrected Shelley is nothing short of hilarious. The actor expertly employs blank stares, clenching teeth, and peculiar quirks that make the eccentric Frankenhooker an absolute joy to observe. If the title itself (quite reasonably) gives you pause, it’s probably best to avoid this one. However, for those who appreciate offbeat humor, “Frankenhooker” is a crowd-pleaser that will leave you in awe of Mullen’s skills and the stunning practical effects.

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2025-02-19 22:33