Under Paris: Another Jaws?

"Under Paris" is exactly what you'd expect from a gory shark film—think "Jaws", but with a French twist and a whole lot more sharks. While it’s certainly not grounded in reality, the film delivers enough thrills and carnage to keep fans of the genre entertained.

The concept of "parthenogenesis"—the idea of sharks reproducing asexually—is a fascinating one that the film explores. It adds a layer of pseudo-science intrigue, although, as with most shark-based monster films, realism takes a backseat. This isn’t about an actual animal attack but more about a monstrous creature, emphasizing horror over biological accuracy. It's clear from the get-go that "Under Paris" embraces its absurdity.

As with most films of this genre, the characters are stock archetypes: the foolish mayor or leader, the scientists who know everything, and the group of people doomed to die horribly—this time environmental protesters rather than actual scientists. While the film doesn’t dive into heavy political commentary (hopefully), it does feel a bit stereotypical in its portrayal of these groups, leaning into familiar tropes.

The triathlon backdrop was a clever idea, especially since the movie was timed to coincide with the excitement surrounding the Olympics. It provides the perfect setup for a lot of cannon-fodder victims. The decision to introduce "multiple sharks" was a stroke of genius—it increases the stakes and adds to the sense of danger, giving the sharks a true "monstrous" presence.

One of the film’s standout sequences, set in the Paris catacombs and the underground sewers, pushes the limits of believability a bit too far. The idea of sharks swimming through these tight, confined spaces, where the water levels are clearly too low for them, feels overly unrealistic—even for a monster movie. While the premise of using the city’s famous catacombs is exciting, it could’ve benefited from a little more plausibility.

The ending, where the sharks seem poised to take over the world, is a classic B-movie exaggeration that doesn’t hold up under scrutiny. The idea of colonizing the globe with these sharks is far-fetched, considering the vastness of the planet and the logistical impossibility of such an occurrence. But then again, this isn’t a film that ever aimed for believability.

The "tsunami" scene, however, was a highlight. The visuals were great, but the sequence could’ve been more gripping with stronger cinematography, focusing on the people in the water and sharks stalking them. It had the potential to be one of the most fear-inducing parts of the movie, but it didn’t quite deliver on the tension.

In the end, "Under Paris" is a decent entry in the shark-monster genre. Yes, it’s unrealistic—sometimes to a fault—but it never pretends to be more than a gory, thrill-filled ride. The graphics are solid, and the sharks themselves are well-designed and visible throughout the film, avoiding the dreaded carbon copy of "Jaws" that so many similar movies fall into. If you’re looking for a fun, bloody shark film with a unique French flair, this one delivers, but just don’t expect much more beyond that.