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Tremors 2: Aftershocks

Tremors 2: Aftershocks

Comedy · Horror · Science Fiction · 1996

Earl Bassett's celebrity after defeating the Graboid attack against the town of Perfection has proved short-lived, until he's recruited by a Mexican oil company whose workers have found more than they bargained for under the soil.

Movie details

Tremors 2: Aftershocks

“The Worms have turned.”

1996 Comedy · Horror · Science Fiction 1h 40m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Earl Bassett's celebrity after defeating the Graboid attack against the town of Perfection has proved short-lived, until he's recruited by a Mexican oil company whose workers have found more than they bargained for under the soil.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Tremors 2: Aftershocks?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

S.S. Wilson

Written by

S.S. Wilson · Brent Maddock

Fred Ward

Fred Ward

Earl Bassett

Helen Shaver

Helen Shaver

Kate 'White' Reilly

Chris Gartin

Chris Gartin

Grady Hoover

Michael Gross

Michael Gross

Burt Gummer

Marcelo Tubert

Marcelo Tubert

Senor Ortega

José Ramón Rosario

José Ramón Rosario

Pedro

M

Marco Hernández

Julio

Court is in session

Put Tremors 2: Aftershocks on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.