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After 15 Years, ‘Tremors 3’ Deserves Some Damn Respect

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Tremors 3: Back to Perfection

The Tremors franchise has shown remarkable staying power. Since the first film’s release in 1990, the franchise has seen four sequels and a 13-episode TV series see the light of day. Supposedly, Amazon has another TV series on the way, this time featuring original star Kevin BaconTremors and Tremors 2: Aftershocks get most of the praise from fans but Tremors 3: Back to Perfection, which celebrated its 15th anniversary earlier this week, deserves some respect as well. It may embrace the comedic elements of the franchise more so than its predecessors, but its heart is in the right place and provides some solid entertainment for a direct-to-video creature feature. 

The Tremors franchise actually has a special place in my heart. Since I wasn’t old enough to watch R-rated movies, I would roam Blockbuster and look for as many PG-13 horror movies that I could. I eventually stumbled across the first Tremors film and it quickly became one of those movies that I rented at least once a month. Tremors 2 eventually joined it and I double-featured them constantly (Critters was the other big PG-13 horror franchise to get frequent air time in my house). Nostalgia plays a big part in my liking for Tremors 3. 

Tremors 3 follows fan favorite Michael Gross’s Burt Gummer back to Perfection, Nevada, the setting of the first film. Since the events of the first film, the town has now become a tourist attraction thanks to “Desert” Jack Sawyer (Shawn Christian), who has created mock-Graboid attack tours for gullible visitors. Though Graboids have been absent from Perfection for over a decade, Burt’s return brings them back. It isn’t long before they begin to evolve again, this time into something even deadlier than Graboids or Shriekers (Except not really; the Ass Blasters are just plain goofy).

Something that has always been admirable about the Tremors franchise has been its regard for continuity. Tremors 3 is even better about that then Tremors 2, seeing several cast members from the first film return. On top of franchise staple Burt Gummer, you’ve got the return of Mindy Sterngood (Ariana Richards, aka Lex from Jurassic Park), Nancy Sterngood (Charlotte Stewart), Miguel (the late Tony Genaro) and even Melvin Plug (Robert Jayne). Screenwriter John Whelpley even introduces Jodi Chang (Susan Chuang), the niece of the first film’s Walter Chang (Victor Wong, who passed away shortly before the film’s release). The actors are game for all of the ridiculousness that is thrown their way, which helps elevate the film above its mediocre script and somewhat limited budget.

Your affinity for Tremors 3 hinges on how much humor you like in your Tremors and how amusing you find the newest Graboid evolution, the Ass Blaster, to be. After all, this creature’s defining characteristic is that it flies after shooting a flame-filled fart out of its butt. Yes, you read that right. Tremors has a comedic element to it, but it mixes in a significant dose of horror to keep it from getting too silly. Even Tremors 2 has some truly frightening moments (the severed arms holding the car window always gave me the willies). Tremors 3 completely eschews the horror elements of the first two films and goes straight for camp. It’s a pure comedy, with the movie emphasizing meta humor even more than the first two (“It’s called a Graboid,” Jack corrects a tourist when he asks to have his picture taken with a “tremor”).

There are some pretty decent set pieces in Tremors 3, the best of which sees Burt hide inside a metal barrel only to be swallowed by a Graboid. Jack proceeds to use a chainsaw to cut Burt out of the Graboid’s stomach. It’s a great bit of gross-out humor, especially for a PG-rated film (and yes, Tremors 3 is rated PG). The climactic battle in the junkyard goes on for a little too long but still contains plenty of amusing moments. Another thing Tremors 3 has going for it is its one-liners. We’re not talking Shakesperean dialogue here, but there’s something inherently funny about Jodi yelling “Ha! Ass Blaster! Blast your own damn ass!” when she kills an Ass Blaster.

It’s not all great in Tremors 3 though. There is some horrendous CGI (close-up shots of the creatures feature practical effects but wide shots and action shots see the aforementioned computer-generated effects) and stilted dialogue mixed in with some questionable acting, but it could be said that that’s part of the movie’s charm. Tremors 3 had a reported budget of $6 million though (pretty high for a DTV release) so it’s disappointing to see the film introduce CGI to the franchise when it probably had the money to get a bit more creative with its practical effects. The pacing of the movie isn’t as tight as that of its predecessors either. It runs about 20 minutes too long (104 minutes) and it takes over an hour for the Ass Blasters to make their first appearance (the Shriekers from Tremors 2 barely factor into the film).

Tremors 3 isn’t high art, but it is a lot of fun and everyone involved has their heart in the right place. You have to admire the commitment and affection everyone seems to have for the film. After 15 years, it’s about time Tremors 3 was shown some damn respect.

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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