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| Images courtesy of Netflix |
The killer shark genre is prolific, littered with a handful of solid efforts, with Jaws still holding the crown as the pinnacle. Xavier Gens' latest effort, Under Paris, takes an unusual premise and delivers a bloody, albeit underwhelming addition to the pantheon of underwater predator films. Featuring some harrowing action sequences, this is the perfect example of an amazing concept that is undone by lackluster writing and milquetoast visuals.
Three years after a shark related tragedy, Sophia Assalas, a renowned aquatic ecologist and activist discovers that a shark she has a personal connection to is inexplicably in the Seine river in Paris. In a race against time and greedy politicians, Sophia teams up with local police officers in a desperate attempt to destroy the shark before a swimming competition in the river begins. From its inception, it is clear that this is a mixture of other, better shark films. There are the horrific elements of Jaws, outlandish mad science elements of SYFY features, and the larger-than-life aesthetics of the Meg films. Considering Gens' New French Extremity roots, there is an almost disappointing notion of restraint throughout the first two acts. The most intriguing sequences are held within Paris' famous catacombs, where the DNA of France's most infamously violent films tries to break free of the cheap Netflix constraints, but ultimately fails.
There is absolutely nothing that happens within this film
that is unexpected, but the kills are sufficiently vicious and the imagination
behind the concept is clear. However, these strengths are betrayed not
only by predictability, but with extremely poor visuals. The CGI in this
picture rivals a superhero film while the cinematography is a clone of 30
Meters Down. Everything appears artificial beyond Berenice
Bejo's leading performance. Her grief and fear is palpable, as is her
simmering anger and her chemistry with Nassim Lyes' Adil is one of the few
redeemable aspects of the entire affair.
However, the entire finale is so absolutely over the top that it is worth the
price of admission, allowing all previous cinematic sins to be forgiven.
When the blood and bullets start to flow, the audience is treated to something
so insane, it would have Michael Bay smiling from ear to ear. Now
available on Netflix, Under Paris is a mostly forgettable affair with a
rewarding payoff, an almost perfect popcorn flick if it were not for the
restraint of the first two acts. Still, even this is overcome by
such a wonderfully preposterous climax, that it pushes the film from soulless
streaming cash grab to worthy future MST3K target.
--Kyle Jonathan