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It’s like The Floor Is Lava coupled with a “there’s something in the water” vibe. Ending up in the lava is bad, but if it doesn’t get you, something in the lava will eventually eat you and finish the job. Sounds delightful, right? If you’re only watching a fictitious tale and not actually living it, then yes, it can be a roaring good time. Beyond this point, I recommend reading with your feet up, just in case.

Several weeks ago, I wrote about my surprise in discovering there are seven entries in the Tremors franchise. I questioned the quality of the third through seventh films since the second film already walked a fine line. Do I have a strong desire to watch these films? Not really, but curiosity is a temptress. So, if curiosity killed the cat, we are just going to assume that it is Schrödinger’s and that it could still be kicking in its box of forced Tremors watching.

To be clear, I love the original film, which is what I am writing about here. This film is a fun, thrilling watch with memorable characters and that late Eighties/early Nineties cinematic aura that could really stoke the imagination. This is science fiction adventure at its best, introducing a new monster to haunt viewers’ dreams and make you question if every footstep summons a creature from below (very Dune sand worm-esque).

Some may categorize Tremors as a horror film because of the creature feature and people being eaten, but I have always felt it is far more of a comedy and thriller mash-up. The film has its tense moments, but it never takes itself too seriously, keeping a joke or slapstick moment on hand in every scene. This lighter approach is aided by a stellar cast. Kevin Bacon and Fred Ward are the main duo, the first survivors of a graboid encounter, and they are ultimately responsible for the story’s conclusion. Bacon and Ward are a perfect pairing, both big dreamers with some rough edges who constantly rib one another yet remain inseparable. Their banter and “do you have a better idea” approach to navigating the creature crisis afflicting Perfection, Nevada injects a hopeful lightness into Tremors that gives the viewer confidence that even if something goes sideways, the two “heroes” will adapt and overcome.

While the entire cast is brimming with unique characters, the other two most memorable to me are Burt and Heather Gummer, heavily armed survivalists played, respectively, by Michael Gross and Reba McEntire. Their distrust of the government, selection of the remote hills overlooking Perfection for their compound, and firearm arsenal ties them to a stereotypical survivalist motif while giving the perception that they are one step ahead of a world falling apart. Eventually, however, they discover weapons alone will not eliminate the grabbed threat and join the rest of Perfection’s residents in discovering cunning and quick thinking will be the best tools for the job. They are arrogant and bombastic, but that makes them a memorable contrast to the rest of the characters. Plus, I have always been intrigued by McEntire’s presence in this film, as I am whenever an artist crosses into a different medium. You may not think this is a movie or role that fits how you view Reba, but it is impossible to think of Tremors without her. Michael Gross is also intriguing, because Burt Gummer, or apparently his ancestor in the prequel, is the only character to appear in every Tremors film, and Gross plays the role each time. I appreciate character consistency across films, and I can especially applaud Gross’ dedication to the franchise. That is one of the reasons I am curious enough to watch the other films.

Aside from the characters, Tremors is full of amazing practical effects and puppetry. Blue screen work is very limited, and I would say probably unnecessary when it noticeably appears. The cast is otherwise fully interacting with their surroundings, with all the grit and unevenness you would expect from an isolated town in a desert valley. When it comes to the graboids, the puppetry and models give the creatures a visceral presence and enough personality to create a more believable illusion of life and threat than even the best CGI accomplishes today. The actors are being grabbed by something that exists in the form we see on screen. That level of realism ensures a film like Tremors survives the filter of time and advancing technology.

I do not know where the later installments in the Tremors franchise will take me. My expectations are not high, but there is a strong enough foundation established by the first entry that maybe there are more adventures to be had along the way. Regardless of the final destination, Tremors is forever a personal favorite and still the movie I think of when I hear Kevin Bacon’s name (and think of all he has done throughout his career). Perhaps I happened to watch this movie at the right time in my impressionable youth that it earned more acclaim than deserved, or maybe, it is just a fun well-made movie that is easy to watch time and again. In pure cinematic context, no, Tremors is not one of the greatest films ever made, but you know what, movies with that title are seldom the ones that provide the best time. If it has been a bit since you watched Tremors, give it another go. I’m sure it will grab your fancy.