Netflix's latest monster movie, 'Under Paris,' directed by Xavier Gens and featuring Bérénice Bejo, brings an unexpected twist to the shark genre. Set in the heart of Paris, the film showcases a colossal shark named Beacon 7, a genetically mutated predator equipped to survive in polluted freshwater. More startling, Beacon 7 has the unique ability to self-reproduce, unleashing a brood of man-eating offspring that wreak havoc in the Seine River and Parisian catacombs.
The narrative follows marine scientist Sophia, portrayed by Bérénice Bejo, leading the team responsible for Beacon 7's creation. The story kicks off with the ominous disappearance of the creature, tracing its deadly path from the polluted estuaries to the labyrinthine catacombs beneath Paris. As the city prepares for an upcoming Triathlon event, the stakes rise dramatically, setting the stage for a terrifying showdown between humanity and the apex predator.
The action sequences in 'Under Paris' are nothing short of gripping. One notable scene features a terrifying feeding frenzy within the narrow confines of a catacomb chamber, displaying an intense claustrophobia that leaves viewers on the edge of their seats. The climactic Triathlon attack amplifies this tension, presenting an apocalyptic vision of Beacon 7's ferocity.
Though the film initially hints at an environmentalist message, it gradually sidelines this theme in favor of pure, adrenaline-pumping action. This choice might deter viewers searching for a deeper narrative, but the movie compensates with a sense of grit and relentless peril. The Parisian landscapes, from the iconic Seine River to the haunting catacombs, serve as a visually compelling backdrop, enhancing the film's thrilling atmosphere.
Bérénice Bejo's portrayal of Sophia adds significant depth to the otherwise exaggerated premise. Her performance lends gravitas, making her character's desperation and determination palpable. The supporting cast also delivers solid performances, but it is Bejo who stands out, anchoring the film with emotional authenticity.
'Under Paris' succeeds in carving out its unique niche within the crowded creature feature genre. Its blend of high-octane action, impressive visuals, and compelling performances makes it a standout entry. The film's potential for sequels, possibly set in other global cities, suggests a broader cinematic universe filled with new, terrifying adventures.
For fans of creature features and shark thrillers, 'Under Paris' offers an exhilarating ride. It manages to combine a sense of urban dread with biological horror, making for a thoroughly entertaining viewing experience. While it may not satisfy those seeking a profound ecological critique, the film's relentless pace and creative premise more than compensate. It's a film that doesn't take itself too seriously, yet delivers edge-of-your-seat moments and memorable action sequences.
If you're in the mood for an action-packed creature feature that transports you to the dark, watery depths of Paris, 'Under Paris' should be on your watchlist. The film not only captivates with its imaginative storyline but also establishes itself as a semi-classic worthy of the category.
Eduardo Lopez
Well, the whole premise of turning Paris into a shark‑infested arena is a blatant reminder of how far we've strayed from responsible storytelling. It feels like the creators are glorifying gratuitous violence while pretending to care about the environment. The over‑the‑top drama is almost theatrical, and I can't help but roll my eyes at the shallow moral veneer plastered over pure spectacle. Still, I guess if you love watching cityscapes get shredded, this might satisfy your appetite.
Nancy Perez de Lezama
It’s an entertaining distraction.
Matt Heitz
Let’s dissect the underlying premises of this cinematic venture with the rigor it deserves, because the surface-level hype masks a plethora of concerns. First, the notion of engineering a megafaunal apex predator capable of thriving in a polluted freshwater system demonstrates an egregious misunderstanding of basic ecological principles, an oversight that can’t be brushed off as artistic license. Second, the film’s superficial flirtation with environmentalism is nothing more than a veneer, a token nod that collapses under the weight of its own commercial motives. Third, the narrative architecture relies heavily on contrived tension points-like the catacomb feeding frenzy- which feel more like gimmickry than genuine storytelling craft. Fourth, the portrayal of municipal authorities as inept saviors perpetuates a dangerous stereotype that undermines public trust in real‑world governance. Fifth, the script’s reliance on incessant action sequences erodes any potential for character development, reducing protagonists to mere plot devices. Sixth, the cinematography, while visually arresting, is hindered by an overuse of shaky‑hand techniques that induce disorientation rather than immersion. Seventh, the sound design, although booming, lacks the nuanced layering needed to convey the organic dread associated with a predator of this magnitude. Eighth, the film’s pacing oscillates erratically, sprinting through crucial exposition only to linger excessively on gratuitous gore. Ninth, the marketing campaign exploits Parisian iconography without offering substantive cultural insight, thereby commodifying heritage for profit. Tenth, the choice to position the Triathlon as a narrative climax feels forced, as if the writers needed a convenient crowd‑scene to showcase the beast’s destructive capacity. Eleventh, the scientific consultancy-if any-appears to have been sidelined, resulting in implausible depictions of genetic mutation pathways. Twelfth, the dialogue suffers from an unfortunate tendency toward exposition‑heavy monologues that undermine organic interaction. Thirteenth, the film fails to engage with the ethical ramifications of biotechnological hubris, a missed opportunity given the premise’s inherent relevance. Fourteenth, the ancillary characters are rendered as disposable background, offering no substantive contribution to the thematic tapestry. Finally, while audiences may revel in the adrenaline rush, they are left with a hollow aftermath, a fleeting thrill devoid of lasting intellectual resonance. In sum, the production trades depth for spectacle, sacrificing narrative integrity on the altar of sensationalism.
Susan Mark
I appreciated the way the film balanced practical effects with CGI, especially in the underwater catacomb chase. The pacing, though intense, gave enough breathing room to absorb the atmosphere of Paris’s hidden underbelly. Bérénice Bejo’s performance grounded the absurdity, offering a relatable anchor amidst the chaos. If you enjoy a mix of thrills and a hint of environmental awareness, it’s worth a watch.
Jason Jennings
Honestly, the whole thing feels like a lazy cash grab with too many nationalistic bragging rights tossed in.