Unfortunately, while I sat to watch with a sliver of hope for a nail-biting adventure—perhaps with a clever twist or two—I quickly learned that this film wouldn't be swimming with the greats. Instead, I found myself floundering through a plot filled with superficial characters and a story threadbare enough to leave many unanswered questions in its wake.
Directed by Xavier Gens and bringing together a competent cast led by Bérénice Bejo, “Under Paris” attempts to ride the coattails of the cherished shark genre that “Jaws” effectively popularized in the 1970s.
Expect the Unexpected (But Not in a Good Way)
The film launches its audience into the depths with a plot that revolves around Sophia Assalas, played by Bérénice Bejo, a marine biologist grappling with the traumatic loss of her husband at the jaws of a monster shark. Fast forward three years, and she’s drawn back into trouble as the titular shark, Lilith, has made the Seine her hunting ground. What should be an exhilarating premise unfortunately collapses under the weight of its own execution.
From the outset, I found myself grappling with the sheer absurdity of several key plot points. For instance, the glaring motivation behind Sophia's erratic decisions is bewildering. Why would a woman, once an advocate for ocean conservation, recklessly dive back into shark-infested waters? Similarly, the kids wanting to “talk to the sharks” felt more like a facepalm-worthy comedic device than a serious plot element. If I’m being honest, there were moments when I clenched my fists—an involuntary gesture of rooting for the shark, if only to put an end to the chaos that unfolded below the surface.
A Shallow Pool of Performances
In terms of performances, the cast is surprisingly competent given the script’s limitations. Bejo stands out and brings a believable depth to her role, which is saying something when surrounding circumstances are so laughably ludicrous. Nassim Lyes, playing the police diver Adil, also manages to hold his own, providing a spark of chemistry amid the dramatic wreckage. However, while the acting isn’t egregiously bad, the characters themselves leave a lot to be desired in terms of development. Their arcs feel more like ripples than the powerful waves one anticipates in a horror film.
Moreover, the majority of supporting characters fall flat, often forgotten until necessary for plot advancement. With character motivations and backgrounds barely explored, the stakes feel diminished. I had hoped for a killer instinct (pun intended) but instead received an ensemble of tropes that could easily be found in any average shark flick—just add the obligatory calamity and watch them flounder.
When Chaos Strikes: A Vision Gone Awry
Gens’s direction, while occasionally compelling in the moments of chaos—a flurry of CGI shark attacks and explosions—fails to establish a cohesive tone throughout the film. The contrasting idyllic Parisian scenery and surreal shark-filled catacombs create an odd juxtaposition that neither terrifies nor thrills. The attempts to introduce suspense are met with predictable outcomes, as the film leans heavily on formulaic scenarios reminiscent of its predecessors.
Still, in the frenzy of underwater carnage, I found some fleeting moments of entertainment. The sheer absurdity of sharks swimming through the Seine—while not scientifically plausible—was amusing, even if it did stretch the bounds of my suspension of disbelief. But mind you, those moments are fleeting and not enough to salvage the overall experience from mediocrity.
Script Floundering in Shallow Waters
Let's discuss the screenplay, which can best be described as a collection of missed opportunities. Dialogue often feels contrived or painfully wooden, and attempts at humor land with a thud. Some exchanges had me rolling my eyes rather than laughing, revealing how poorly written and executed they truly were. Scenes meant to convey shock or terror inevitably descend into absurdity, calling into question the writer’s understanding of tension and pacing.
The ending could have been an opportunity to regain some semblance of dignity, yet it faultered spectacularly. The mayhem of explosions leading to a tsunami while our leads remain stranded on a rooftop feels like a desperate ploy to maintain any semblance of excitement, falling flat on its face instead. The inevitable disaster was not thrilling but rather an underwhelming conclusion that left numerous questions dangling in the water.
Thematic Drowning in Clichés
The themes of environmentalism and humanity’s relationship with nature, when examined closely, could have provided a thoughtful commentary as hinted at throughout the film. Unfortunately, “Under Paris” never seizes that opportunity and glosses over its potential message with scatterbrained plot threads and ineffectual execution. The film felt at once predictable and bewildering—a paradox that is unlikely to satisfy either genre enthusiasts or casual viewers.
For those who find joy in grim hilarity, there may be some entertainment value, but even then, it's crucial not to take the film too seriously. If you're after something akin to “Sharknado” or “Deep Blue Sea,” then prepare for some thrills, albeit without the depth that makes those films resonate. I’d suggest checking out The Meg or 47 Meters Down for some slightly more refined—but still silly—shark-centric entertainment.
The Verdict: A Fish Out of Water
In conclusion, “Under Paris” is not a submerged disaster but rather a mediocre offering that struggles to find its footing in the shark film genre. It may provide some guilty pleasure, especially for those who enjoy the absurdities that come with a ridiculous plot and CGI sharks, but any anticipation of a ride comparable to the psychological terror of “Jaws” is bound to be disappointed.
Personally, I found it to be a mediocre watch—one that I cannot entirely discredit for its sheer moments of chaos and carnage, yet one that desperately misses the mark in delivering a coherent and engaging story. As the credits rolled, my primary thought was centered on relief; the cinematic dive into chaos was finally over. As for sequels? Let’s leave this one beneath the waves, shall we?
