You will be redirected back to your article in seconds

Aftershock

Gleefully trashy "Aftershock" applies a grindhouse sensibility -- minus the faux-oldie stylings of other recent exploitation homages -- to a disaster-survival thriller that acts more like a horror film.

Cast:
With: Eli Roth, Andrea Osvart, Ariel Levy, Natasha Yarovenko, Nicolas Martinez, Lorenza Izzo, Marcial Tagle, Ramon Llao, Alvaro Lopez, Ignacia Allamand, Patricio Strahovsky, Matias Lopez, Eduardo Dominguez, Gabriela Hernandez, Edgardo Bruna, Selena Gomez. (English, Spanish dialogue)

Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in a major Valparaiso earthquake. This Dimension pickup is a hectic, sometimes hilarious guilty pleasure that should delight genre geeks. Still, as Tarantino’s “Grindhouse” proved, mainstream audiences can be fickle when it comes to smart, in-jokey versions of dumb movies, seemingly preferring the real dumb thing.

The pic’s first half-hour is a fast-paced and funny version of that usually blah vacation-of-horror intro in which we meet the hot young party-hearty protags, mostly foreign tourists, who’ll soon be paying for their pleasures in various grisly ways. A divorced Yank, here called only by his nickname, Gringo (Roth), is hoping to score a little love at the clubs and raves he attends with two local friends, insecure Ariel (Ariel Levy) and brash tycoon’s son Pollo (Nicolas Martinez).

They meet a multinational femme trio — boozing California wild child Kyle (Lorenza Izzo), her sober Hungarian half-sister/minder Monica (Andrea Osvart) and their Russian model pal Irina (Natasha Yarovenko) — and spend the next day sightseeing as a group. But at an exclusive dance party that night, the Big One hits, briefly trapping everyone underground and crushing plenty of revelers under falling debris.

Making their way out, with one of their number already seriously wounded, the protags find streets blocked, destruction everywhere, and looters running rampant. Then the tsunami warning alarm goes off.

The script by Roth, Lopez, and Lopez’s frequent collaborator, Guillermo Amoedo, giddily piles crisis upon crisis, with none of the customary mercy reserved for leading characters. Indeed, in several cases, the higher the billing, the more tastelessly grisly the fate. In the interests of maximum hyperbole, only one element is missing: Sensurround.

This movie does not, however, pretend to be a 1970s drive-in or ’80s direct-to-vid pic, despite the tonal and thematic nods. It’s got a contemporary look, albeit of a somewhat deliberately tacky, over-colorful stripe, with plenty of thundering club tracks in the early going. Many gags are aimed at Chilean audiences, though not the fleeting appearance of Selena Gomez, also seen at the Toronto fest laying waste to her teen-queen image in “Spring Breakers.”

The thesps are more than game; Roth, who hasn’t particularly impressed as an onscreen presence before, is clearly having great fun, and makes that feeling infectious. Production package is solid, while hanging onto a certain B-pic roughness.

Aftershock

U.S.-Chile

Production: A Dimension Pictures release of an Eli Roth presentation of a Dragonfly Entertainment/Vertebra Films production in association with Sobras Prods. and Cross Creek Pictures. (International sales: FilmNation Entertainment, New York.) Produced by Roth, Brian Oliver, Miguel Asensio Llamas. Executive producers, Mac Cappuccino, Helen Cappuccino, Nicolas Lopez, James Holt. Directed by Nicolas Lopez. Screenplay, Eli Roth, Lopez, Guillermo Amoedo.

Crew: Camera (color, DCP), Antonio Quercia; editor, Diego Macho Gomez; music, Manuel Riveiro; music supervisor, Sokio; production designer, Nelson Daniel; art director, Marichi Palacios; set decorator, Jose Munoz; costume designers, Elisa Homazabal, Jeremy Scott; special makeup effects, Felipe Figueroa; special effects, Patricio Aguilar; visual effects supervisor, Ismael Cabrera; sound/re-rerecording mixer (Dolby Digital), Mauricio Molina; stunt coordinator, Wernher Schurmann; assistant director, Pablo Atienza; casting, Kelli Martin Wagner. Reviewed at Toronto Film Festival (Midnight Madness), Sept. 8, 2012. Running time: 91 MIN.

Cast: With: Eli Roth, Andrea Osvart, Ariel Levy, Natasha Yarovenko, Nicolas Martinez, Lorenza Izzo, Marcial Tagle, Ramon Llao, Alvaro Lopez, Ignacia Allamand, Patricio Strahovsky, Matias Lopez, Eduardo Dominguez, Gabriela Hernandez, Edgardo Bruna, Selena Gomez. (English, Spanish dialogue)

More Scene

  • AMAs Afterparty at Watt's with Niall

    Niall Horan, Chainsmokers, Rae Sremmurd Bring the AMAs After-Party to Beverly Hills

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • Tig Notaro Writers Room

    Tig Notaro on Louis C.K. Scandal: Only Positive Is 'Victims Were Not Told They're Lying Anymore'

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • HBO Presents-Night of Too Many Stars

    Jon Stewart, Other A-List Comics Skip Over Louis C.K. at 'Night of Too Many Stars'

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • Variety Hitmakers Brunch

    Kendrick Lamar, DJ Khaled, Hailee Steinfeld Honored at Inaugural Variety Hitmakers Event

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • The 'Runaways' Praise Series' Diversity at

    'Marvel's Runaways' Stars Praise Series' Diversity at Hulu Premiere

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • 'Molly's Game' film premiere, Arrivals, AFI

    Jessica Chastain Praises Bravery of Sexual Assault Victims at 'Molly's Game' Premiere, AFI Fest Tribute to Aaron Sorkin

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

  • 'The Shape of Water' film premiere

    Guillermo del Toro Calls 'The Shape of Water' a New Type of 'Beauty and the Beast'

    Gleefully trashy “Aftershock” applies a grindhouse sensibility — minus the faux-oldie stylings of other recent exploitation homages — to a disaster-survival thriller that acts more like a horror film. The English-language debut of Chilean director Nicolas Lopez (“Fuck My Life”) toplines “Hostel” helmer Eli Roth, no stranger to tasteless cinema, as an American caught in […]

More From Our Brands

Access exclusive content