GL84 Arriving in his Old-West mine, an owner find the land overrun by a series of vicious, multi-toned worms that have scared off his men and vows to rid the beasts before they drive out the survivors.This was quite a thoroughly enjoyable conclusion to the series. One of its better elements here is the Old-West setting, which is quite ingenious and original at this point, as there's not a whole lot to really use the concept. The dusty, abandoned town, horse-drawn carriages and firearms in uses her makes for a vastly original take on the genre here with the setting being quite a bit different from usual creature features. The worms being placed on that kind of situation does offer a bit of fun where scenes like the mine assault in the beginning, their first assault on the camp in the desert as well as the ensuing battle in the storage warehouse causes this to be quite fun as well as getting the most out of the setting. That also has a few quite entertaining and enjoyable action scenes which keeps this going along quite nicely as there's plenty of other encounters, from a thrilling chase on horse-drawn carriage, the fine battle with the snake-like tongues and of course the finale which is the final stand in town against the creatures and really puts in some ingenuity to dispatch the creatures once and for all to make for an exciting and thrilling scenes. Along with the fabulous effects work on the worms and some decent enough bits of humor, there's some good points here while there's also a few flaws in this to bring it down some. The biggest one present is the lack of true light-hearted slapstick and goofy humor that's always been a part of the series, and that tends to stick out a little more than expected here. It's quite a distraction as it was a pronounced feature that was so successful before but is sorely missing here, either missing the point entirely or filled with a lame series of jokes and gags that aren't in the slightest bit funny. As the majority of these scenes are in the first half based on his arrival into town and their reactions toward him, it makes for a slightly more troublesome entrance for the film than expected as well as dragging this one out a little more than necessary. Another problem here is the fact that the worms themselves are on screen so rarely. They are on-screen only for a few scenes and the finale, and the rest of the time isn't that filled with the worms. This really hinders a lot of the film, especially the middle section, which has very little to get interested beyond what the humans are doing. Otherwise, there isn't a lot really wrong here.Rated PG-13: Violence, mild Language and children-in-jeopardy.

AaronCapenBanner Michael Gross is back, not as Burt Gummer, but instead his ancestor Hiram Gummer, who owns a silver mine in rejection Nevada, but leaves his home in Philadelphia when the mine is closed due to unexplained deaths, which are rumored to be caused by monsters...Set 100 years before the events of Part I,film cleverly builds the back story of this town(later renamed Perfection) and the first reported encounter with the creatures later named "graboids". Set in the west, and featuring many of the familiar elements of the genre, film isn't bad at all, but still falls flat, carried mostly by the appeal of Michael Gross, who has interesting character development regarding his love of guns... Last in the series, so far!

gigan-92 I'm gonna start by saying I love the Tremors series. The shabby flicks are an ode to the monster cinema of old, and I love it for that. The first one is the best, I find the second film enjoyable and even the third wasn't too bad. But this, this is just a PIECE OF SH*T. Serving as a prequel to the first three films, and taking place in the Old West for what reason I don't know, this film is a god-awful mess.Firstly, the story sucks. It was badly written. From the beginning that useless 19th century tractor pokes its nose into almost every shot, obviously indicating the machine will be a crucial tool in the finale. More on that later. Secondly, the build-up is pain-staking slow, and I mean SLOW. Now I did like the design of the infant graboids, but the execution of just how they kill their prey is utterly laughable. There's literally a long shot of a man running towards the camera, and two of the roughly 3-foot creatures fly across the screen like catapult-launched sandbags; 'ramming' him to the ground. What? How in the hell does a leg-less worm-like creature generate the lift to launch itself into the air? I'm an avid fan of Godzilla, so I usually I am tolerant of the dismissal of reality, but this just infuriated me.Then there's the creatures themselves, because the film does include a few adult-sized graboids. The budget was obviously even lower than the last film's, just when you thought that wasn't possible. You hardly ever see the Graboids at all. I could count their screen time with my fingers and have some to spare. I mean this literally. When we do, the Graboid puppet is stiff and stationary, and they even occasionally use CGI tentacles, pissing me off. The whole time the characters are re-establishing everything we already know about the graboids, making every bit of the dialogue just annoying to the syllable.And the climax succeeds in only one thing: making a viewer want to rip his hair out. The graboid somehow manages to beach itself on the surface like a poor orca, and they hook a chain to its tail, which is, you guessed it, attached to the tractor. Reeling the graboid in ass first, it smashes into the machine at roughly 5-10 miles per hour and actually explodes into bite-sized chunks on impact. WHAT THE F*CK???!! If there truly was a deity out there somewhere, it would not have allowed this travesty to be unleashed upon audiences. The worst part is the utter destruction of Michael Gross' character. I'm not even gonna go into that, because that'd be another whole essay. I'm all for low-budget monster fun, but this was a steaming pile of Graboid turd.

lost-in-limbo A little better than 'Tremors 3: Back to Perfection (2001)', but definitely inferior to 'Tremors II: Aftershocks (1996)'. Even if none of these straight to video sequels reach the greatness of the original, it's still quite an enjoyable franchise that manages to storm up something refreshing for the viewer as the creators knew what they wanted. Helping out a lot was that most of the guys behind the idea (Ron Underwood, Brett Maddock and S.S. Wilson) were aboard, albeit writing, directing or producing. They were always involved in some way and they're love for it showed in their works. Also let's not forget that Michael Gross is the only one from the original cast to appear in all four as his energetically memorable gung-ho Burt Gummer. Well that wasn't entirely the case and this last instalment (to date) paints that out.The fourth tremor film sees us transported back to what is a prequel. Set 1889 Nevada, in the small working town Rejection (yes before it was called Perfection). During one day nineteen miners are picked off in silver mine by some unseen creature (graboid) and this causes most the town to pack and leave. The owner of the mine Hiram Gummer (Burt's descended) arrives to an almost ghost town to hopefully rid the problem and re-open the mine.Michael Gross's character is largely different to what was use to seeing. It surprises. But the change of character/personality to what he becomes and what we love about him is done very well because of Gross' sincere acting. Billy Drago is simply wonderful and a joy to behold in his short role as the gun for hire. The rest of the cast do a very capable job, but we know whose show it is any way. Yes Gross, but the graboids too. With a mixture of well-constructed CGI and terrific animatronics' puppets that do come off. With the crew favouring the use of the latter more often and for such a low-budget production is amiably crafted.The plot structure (by S.S Wilson, Brett Maddock and Nancy Roberts) is dryly old-fashion monster fun on the western frontier that actually cares for its characters, pops in some consistent light humour and can rally pockets of suspense. Director S.S Wilson relax handling has a brisk and spirited flow to it.