Critic Reviews



Based on 20 critic reviews provided by Metacritic.com
The first, pre-'quake half hour is such a patience-testing slow burn that director Nicolás López runs the risk of extinguishing the viewer's interest altogether. But when things head (metaphorically) south they do so with an escalating, apocalyptic ferocity which continues until the very last second.
A movie that tends to stick to formula, offering up minimal scares amid scattered moments of gross-out bliss.
Aftershock then becomes a catalog of most every unpleasant way of dying you can imagine.
Though offering some chilling twists on the usual conventions, employing wit and restraint where otherwise the filmmakers might have relied on the contents of an abattoir, Aftershock is ultimately predictable in its litany of who lives and who dies, and doesn't try to be too ironic or self-reflexive about it.
At first, it's all fun and games whenever somebody gets hurt, but that's not enough in and of itself to sustain the movie's tension. We're left waiting for characters to die off without much of a vested interest in anyone's survival.
The ending is sick enough to make it almost worth the wait. Key word: almost.
There's plenty of gore, but none of it is particularly inventive, nor does it engender any visceral or emotional reactions beyond jaded disgust.
It's an unrelentingly brutal movie set in an unusually scenic locale - the coastal city of Valparaiso, Chile.
The actual Chilean earthquake killed 300 people and turned thousands more homeless, but this movie distills everything for comic effect. Everyone gets robbed, raped, impaled, mutilated, decapitated or burned alive. But that's not all. Crawling through the blood-drenched debris, here comes the tsunami!
A weird mash-up of disaster, horror and dystopia genre pictures, Aftershock fails to make the Earth move.
A lot of Aftershock predictably involves screaming or shock cuts, and the movie features a blink-and-you-miss-it cameo from Selena Gomez.

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