Reviews provided by RottenTomatoes
"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.
New York Times:
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.
It's hard to imagine just who would want to sit through this movie, given the sadistic mayhem the audience is subjected to.
This Dimension pickup is a hectic, sometimes hilarious guilty pleasure that should delight genre geeks.
Aftershock becomes perversely predictable after a while. Just imagine what a conventional disaster movie would do, and wait for the opposite to happen.
Struggles to strike a tone between intense and comically cruel as it picks off its cast.
Los Angeles Times:
There's so little context to the litany of ugliness - some played for laughs, some meant to shock - that it's hard to discern where the entertainment value lies in any of this.
Cross "The Hangover" with the Apocalypse and that'll give you some idea of the level of debauched mayhem that makes "Aftershock" such a shameless and titillating exercise in horror.
New York Daily News:
There is a great final shot ... and the Roth character does find a place with real heat. Otherwise, there's nothing groundbreaking here.
New York Post:
A weird mash-up of disaster, horror and dystopia genre pictures, "Aftershock" fails to make the Earth move.
Aftershock's best attribute is the disregard it shows for the safety of its central "heroes" who perish in brutal and generally unexpected ways.
Nicolas Lopez's slick shocker turns into an unholy amalgam of disaster film and slasher flick.
Aftershock is incompetently made and morally muddled, but since talent, morality, and Mr. Roth have never been on speaking terms, we're not exactly surprised.