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“It’s pointless. Like blowing up a dam while we’re standing on it ! The first explosion furthered his point, ripping the ground from beneath their feet in a stomach-lurching buck. Stumbling to regain their footing, they bent their knees to absorb the shock and waited a beat. When no aftershocks followed, they sprang back to immediate action. Rock cracked with a thunderous boom, water spraying from a divot webbing through the foundation. “Get off the rubble, or become the rubble. The muscles of his chest rippling with strain, Houston gave Juneau’s tether a forceful yank. Hooking the slack around his elbow, he sprinted toward salvation. Like a sand castle caught in the rising tide, the middle of the dam washed away, exploding out in a gush of rushing water and rock. The ledge lurched, threatening to topple under the weight of the A-5. Pumping their legs for all they were worth, the team got within range and dove for the stairs. When a second rockslide claimed more of the dam, it took the braided nylon line with it. The force ripped the cable from their hands, bulleting its reckless passenger toward the ground. “Oh, hell no,” Houston grunted through his teeth. He threw himself at the plummeting line, sliding on his stomach to catch it. It hissed through his hands, burning through layers of flesh without slowing. A scream tore from his throat as his upper body disappeared over the ledge.

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Channing Tatum. Mark Ruffalo. Anthony Michael Hall. Guy Boyd. Brett Rice. Jackson. Peter Facinelli. Pascal Petardi. Milan Malisic. Andrey Ivchenko. John Goodman. Michael Kenneth Williams. George Kennedy. Richard Schiff. Andre. Jessica Lange. Ria Wilkinson. Janet McPhail.

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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. But what makes it so brilliant, 18 years later and with two Netflix seasons in the can, is that it’s so painfully, relentlessly nihilistic. We could trade quotable lines for days (my personal favorites being what Jon Benjamin’s can of vegetables admits he’s acrobatically capable of, and then Paul Rudd bluntly refusing to make out with Elizabeth Banks ’s character due to her burger flavor), but the key to the movie’s endurance—past its timelessness grounded in a specific brand of ’80s sex romp flick—is the way in which it treats nostalgia. Like Wain, Michael Showalter and Michael Ian Black’s Stella series, Wet Hot American Summer, which takes place over the course of Camp Firewood’s last day, exists in a bleakly amoral world. Here, bad things happen to good people—and really only to good people. Wain takes innocence and obliterates it, punishes it, gleefully destroying all nice memories anyone would ever hold dear about long lost summers, first loves and youth. Without a shred of wistfulness, Wet Hot American Summer surpasses its origins in parody and becomes something more: It earns its comedy. Taunting our very explicitly American tendency to let everything we touch devolve into sentimentality, the film proves that when we obsess over remembering ourselves at our best, we might as well be celebrating us at our worst. —Dom Sinacola. A cheery little Cain and Abel story set in the lettuce-farming country of California’s Salinas Valley, the film garnered intense critical acclaim for Kazan’s masterful use of CinemaScope technology to create a beautiful, moody mise en scene. Critical opinion was divided on Dean, whom some found pointlessly histrionic. Others have pronounced his fiery confrontations with his pious father (Raymond Massey) to be compelling and masterful. Whichever way you see it, there’s strong consensus that this film created the persona of disaffected bad-boy Dean, whose iconic rebelliousness defined the generational divide that widened into the 1960s. —Amy Glynn. Like any coming-of-age teen soap opera, much of the film’s appeal is in its vaunting of style over substance—coining whole ways of speaking, dressing and posturing for an impressionable generation brought up on Hollywood tropes—but Heathers embraces its style as an essential keystone to filmmaking, recognizing that even the most bloated melodrama can be sold through a well-manicured image. And some of Heathers ’ images are indelible: J.


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