Dumb Shark Fun Lies Under Paris (2024) in the Seine
Title: Under Paris
First Non-Festival Release: June 5, 2024 (Digital/Streaming Platforms)
Director: Xavier Gens
Writer: Yannick Dahan, Maud Heywang, Xavier Gens
Runtime: 104 Minutes
Starring: Bérénice Bejo, Léa Léviant, Anne Marivin
Where to Watch: Check out where to find it here
Our environment has been changing due to the effects of unfettered capitalism and wanton human negligence. Supporting life in more ways than most people understand, oceans are integral to our survival. Rich in knowledge about how the world works, the ocean and its many creatures are key to life as we know it.
Sophia Assalas (Bérénice Bejo) has dedicated her life to studying the oceans, even though a horrific shark attack took the lives of her research crew and husband in the Great Pacific Garbage Patch. Years later, she is confronted by environmental advocate Mika (Léa Léviant) about a seemingly impossible problem: Lilith, the same shark that nearly killed her three years prior, has journeyed across oceans and is now prowling the depths of the Seine River on the eve of the Olympic Games. Racing against the clock to save the shark and the people of Paris, Sophia is put to the test by disillusioned politicians, an initially unhelpful police force, and her untrustworthy new friend.
An entertaining enough shark thriller, Under Paris falters in its depiction of underwater carnage.
Underneath its silly premise, Under Paris attempts to sink its teeth into environmental concerns and political optics with middling results. With topics like over consumption and performative activism so prevalent in current discourse, it’s wild that Under Paris disappoints in its approach to eco horror. Aside from a few impassioned speeches from Mika and the visuals of both the Great Pacific Garbage Patch and the triathlon in Paris, Under Paris introduces ideas on how society is failing the creatures without fully committing to them. While the specifics are never hounded on, Under Paris isn’t afraid to cast blame on who is responsible.
Mika’s self-aggrandizing approach to activism not only endangers the lives of many, oftentimes culpable but not always, people but also damages the chances of the shark’s survival. The decision of Paris’s mayor (Anne Marivin) to go through with its race despite knowing the dangers also shares the ire. Both represent two sides blocking environmental progress: those who deny that problems exist and those who employ dangerous tactics to direct attention to them.
Its wish-washy politics aside, what hurts Under Paris more is its bland characters and the inconsequential nature of their interpersonal dynamics. The center of the film, Sophia, has all the workings of an interesting character but is stymied by a lack of development. Pushed by her trauma to re-orient her life yet simultaneously pulled by her desire to help others, Sophia’s importance in the story lessens as soon as the impressive shark sequences begin. A stock heroine at best, Sophia’s presence is about as exciting as the other 2D players: an overzealous activist, a no-nonsense cop love interest, an ambitious, money hungry mayor, etc. When a creature attacks, the carnage can only save a story so much before audiences are reminded of why they should be invested in the creature’s defeat. Under Paris doesn’t do much to make the journey satisfying.
Amusing enough in its silliness, Under Paris delivers a few harrowing shark sequences worth celebrating. Sweeping shots of underwater caverns and murky Parisian water allows the tension to creep up in a natural way. Ludicrous premise aside, Under Paris really makes it plausible that a shark could be hunting in the Seine. The film’s opening massacre sequence and an ill-advised trek into the Catacombs are among the best moments. Toeing the line of realism most of the time allows Under Paris to go off the rails every now and then without too many eye rolls. At the end of the day, the scenes are scary, which is what matters most in a film about a shark crashing the Olympics.
What really elevates Under Paris is its great shark effects. Most shark films are hampered by low budgets and horrendous looking sharks that inspire more laughter than fear. In Under Paris, Lilith is given enough attention to make her a fearsome beast without getting too obnoxious. It’s clear that the film wants its shark action, and related set pieces, to be the focal point, and it largely delivers. It never quite reaches the level of Jaws [which is unattainable for most shark movies anyway] or Deep Blue Sea, but it is serviceable enough.
Certainly not worthy of any gold medals, Under Paris is a fine enough shark actioner that will delight sub-genre aficionados aching for some degree of competence. Decent shark scares and some breathtaking underwater sequences distract from the flimsy script and flat characters. It isn’t as apocalyptic as some claim, but it does leave something to be desired given its fun premise. For those seeking dumb summer fun in the form of shark frenzies, you’ll likely have your thirst quenched with Under Paris.
Overall Score? 6/10
