It's only the beginning
In 2004, Nicolás López directed his
first feature film Promedio Rojo, a dark teen-comedy that Quentin Tarantino
called “the funniest movie of the year.” Nine years later and having buddied up
with horror auteur Eli Roth, the Chilean director looks to plant his roots in
the horror genre with his first English-language film.
López’ fondness of the
romantic-comedy genre is apparent in the initial thirty minutes of his latest
feature (which world premiered at Toronto International Film Festival Midnight
Madness.) It’s a peculiarly slow start, and watching a group of typical
twenty-somethings (plus 40 year-old dad, Gringo) popping pills, downing shots
and scoring (or embarrassingly not scoring) with girls is hilarious – but a bit
wearisome. Especially when Selena Gomez pops up to turn down Roth. And especially
when it lasts for forty minutes (nearly half of the movie’s running time). But the
character development is complementary in interacting with the following events
and you’ll be glad to have stuck with it. And hey, it’s a good sell of the
director’s home land.
Roth steps back in front of the
camera in a lead role for the first time since Inglourious Basterds as an
American divorced dad, affectionately-named Gringo. He embraces life as the
awkward guy who acts half his age but dresses like the father he is. Each
character exploits their own qwerky habits and trivial problems, playing off
one another to create a mix of good fun and light-hearted tension. But it’s Nicholas
Martinez as Pollo who steals the stage with his garish humour and dominating
screen presence.
Erupting in chaos and frenzy, the
group’s consequential battle is against a city in ruin and turmoil. As convicts
escape from the local prison roam the streets like free men and locals become
irrational with fear and bear an unfortunate distrust towards foreigners, the
tsunami is almost momentarily forgotten. It’s rape, guns and hasty decisions
that become the threatening reality. Co-written by Roth and López, this is
where influences of the grittiness in cult-classics Hostel and Cabin Fever creep
in.
López has described the film as a
completed jigsaw of several people’s real life horror stories from Chile ’s
tsunamis. The final hour depicts these events in a relentless string of
shocking tragedies, forming a rapid pace that never lets off. From chasing down
amputated hands to finding aborted babies dumped in tunnels to watching someone
being burnt alive, you wish more time had been devoted to this unrelenting
rollercoaster ride than watching the group chugging cocktails.
The sequence of characters being
killed off runs through the motions and their brief but touching moments of
emotional despair sets it apart from the generic formula. If the last death
sequence isn’t brutal enough, the ending must be a strong contender for the
sweetest sour ending in the history of horror.
VERDICT: Aftershock suffers in a strained
and slow beginning but is saved by a compelling sequence of unimaginable
horrors in the latter half. Toying with horror, laughter and heartbreak, López’
succeeds in tapping into every emotion to create an above average earthquake
survival flick.
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