Ariel Levy

When I watched “Aftershock” by Nicolas Lopez I knew immediately after watching it how I felt. Much like the recent “Evil Dead” remake I went back and forth during the movie but once I left the theater it hit me like a residual aftershock: that was dumb. Pardon my lame and immature word, but it’s the first thought that came to my mind. In big boy words, “Aftershock” suffered from a genre identity crisis and ultimately created a pointless story full of empty character development.