The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
From the Critics
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Aftershock is a pretty fun little movie if you don't take it too seriously and has an enjoyable nasty streak to it once the world begins to go to hell, only if you can forgive the extra-long set-up that gets us there.
The violence is quick and occasionally inventive, with little of the attenuated nastiness that characterizes so many genre pictures, and the photography ranges from brightly sun-kissed to down-and-dirty.
...if you think you are going to be witnessing something in the vein of your typical death and destruction flick like THE DAY AFTER TOMORROW or 2012, you will probably be horrified by the depravity on display.
Whether Nicolás López was actually trying to be funny with Aftershock I'll never know, because I ended up laughing more than I intended, but hell - intensity and pace gleefully carry the film two-thirds of the way.
Aftershock gets a little Sunshine-like ridiculous in its final act and becomes a bit too routine, but for a good hour this is a genuinely successful disaster flick with real terror, gory surprises and all the nasty fun a horror fan craves.
With a nihilistic ending tacked on because hopelessness is seemingly cool, cheap special effects, clunky dialogue, a bizarre ten-second cameo from Selena Gomez, and some genuinely mediocre filmmaking, Aftershock is too amateurish to be truly awful.