Gory comedy is an interesting collision of style and taste
I have no doubt that when Dimension kicks into overdrive to sell you "Aftershock" sometime in 2013, you're going to see Eli Roth's name used a whole lot. I understand it, too. Roth has been enormously good at turning his name into a brand, something that a certain group of young filmmakers have developed as an important skill set in the 21st century. After all, he's served as "Eli Roth presents" on several films, and he's part of the new Vegas venture, The Goretorium, which is a year-round horror-themed experience. The last feature film that Eli directed was in 2004, though, so when you see critics and marketing that will fall over themselves to heap both the flaws and the merits of "Aftershock" at his feet, that's because the branding worked, not because he's genuinely the key architect of this particular movie.
This is very much a collaboration, though, between Eli and Nicolas Lopez, a Chilean filmmaker who has had a fascinating career of ups and downs so far. His first film in 2004, "Promedio Rojo," is a rowdy teenage sex comedy, brash and funny and raw, and it got him some international attention. That led to the production of "Santos," his second film, which is a big sprawling glorious mess of a film, a narrative that ran away from him, filled with all sorts of big imagination. It was much too expensive for the sort of specialty niche film that it was, and it set him back a bit. It consumed four full years of his life, and I think it's not the film he set out to make.