Last week Sierra and I had dinner with our kids, and as usual, at some point the conversation turned towards movies. Sierra has been watching a lot of terrible shark movies, so I asked the kids if they had seen any decent shark movies lately. Our son mentioned this movie UNDER PARIS, and both he and his wife agreed that they thought it was a good movie. We had not heard of it before, but being tired of the SHARKNADO’s of the world, we decided to check it out.
UNDER PARIS opens with marine biologist Sophia Assalas (Berenice Bejo) and her dive team, which includes her husband Chris, tracking a shark named Lilith. The divers go into the water to obtain a blood sample, expecting to find a normal sized Lilith, but instead discover that Lilith has grown to three times her normal size and is aggressively hunting with a pack of other sharks. Before they can get back to the boat, the divers are all attacked and killed. Three years later and still traumatized by the events of that fateful day, Sophia is now an employee of a Paris aquarium when a young environmentalist named Mika (Lea Leviant) approaches her and says that Lilith’s tracking beacon seems to be active in Paris’ Seine River. Skeptical at first since Lilith shouldn’t be able to survive in fresh water, Sophia changes her tune when a homeless man is found half eaten with wounds clearly caused by a shark. Sophia then works closely with the river police and Sergeant Adil (Nassim Lyes) to try to find the shark before it can kill other Parisians. Wouldn’t you know it, it seems that Paris is about to host a large triathlon that’s tied to the upcoming Paris Olympics. Concerned that the participants could turn into shark food, Sophia and the police meet with the Mayor of Paris (Anne Marivin) to ask her to put off the triathlon. The mayor, however, doesn’t want the bad publicity that would come from cancelling the triathlon due to a “shark problem” so she refuses to cancel and tells them to just deal with it. I think we can all imagine where the story goes from there!
UNDER PARIS is better than most of the shark movies that Sierra and I have been watching, but it’s also a bit of a mess. There are a few things I really did like about the movie. First, I liked the Paris setting, which is not your typical setting for a shark movie. It was fun seeing the Eiffel Tower in the background as our various characters went through all the familiar shark movie tropes, speaking in French no less. Second, I enjoyed the somewhat serious and suspenseful tone of the early portions of the film. Our main character Sophia, as played by Berenice Bejo, is dealing with real tragedy and the movie treats her grief seriously. I think Bejo is good in the film, and I felt for her through these early sequences. I also liked her relationship with Sergeant Adil. Of course he would be skeptical at first, but I thought actor Nassim Lyes did a fine job of balancing rationality with a desire to get to the truth no matter how outlandish it may seem. The suspense around the tragedy at the opening of the film, as well as the portions dealing with convincing the police that the shark is in Paris, are quite effective. Even though it’s a cliché at this point, it was a fun throwback to JAWS (1975) when the mayor of Paris didn’t want to cancel the triathlon due to the bad publicity it would cause. In other words, I really did enjoy a lot of the world that UNDER PARIS created as it was building to the catastrophic shark attacks
UNDER PARIS does have its share of problems. When the big set pieces start and the shark(s) start attacking Paris, the movie pretty much abandons the human stories for CGI shark attacks. I won’t deny that there is some excitement in these scenes, but while the effects are decent, they’re not great, and the non-stop carnage took me out of the parts of the movie that I was really enjoying. Some of the characters, I’m looking at you mayor and environmentalist Mika, are especially naïve and silly, and their downright idiotic decisions lead to the majority of death and destruction presented in the film. By the time half the environmentalists and triathletes have been eaten or severely disabled, I was already wondering how much time we had left to the end of the movie.
Overall, I do think UNDER PARIS is better than most of the shark movies you can find on the streaming services. The unique setting, serious tone, and strong performances get the movie off to a solid start. Unfortunately, it’s just not able to sustain its early momentum throughout to the end.
Clark Duke, from Glenwood, Arkansas, made his directorial debut back in 2020 in a movie that’s appropriately titled ARKANSAS. The film has a hell of cast (Liam Hemsworth, John Malkovich, Vince Vaughn, etc.) and focuses on the southern drug industry. You wouldn’t know it from today’s video, but it’s a color film, and it’s a good film. If you haven’t seen it, I recommend it (and so does Lisa – Arkansas Review)!
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.
I love to share movies that are filmed in my beautiful home state of Arkansas. There aren’t a lot of movies filmed in Arkansas, but there are definitely some interesting movies filmed in Arkansas. Check these out!
Bloody Mama (1970)Boxcar Bertha (1972)One False Move (1991)Mud (2012)
Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday June 30th, we are showing DARK ANGEL: THE ASCENT (1994), starring the lovely Angela Featherstone, Daniel Markel, Nicolas Worth, Charlotte Stewart, Milton James, and Mike Genovese.
The plot: A demoness from Hell, Veronica Iscariot (Angela Featherstone), uninterested in tormenting the souls of damned sinners, ascends to the world above and finds our world full of evil and corruption. Veronica decides her mission in life is to punish the wicked and evil and goes about this with a bloody vengeance. Along the way she meets and falls in love with a doctor, Max Barris (Daniel Markel), who tends to her wounds after an accident.
So, if you think you might enjoy watching a demoness punish the wicked and evil with a bloody vengeance, while falling in love with a handsome doctor, then we just may have the movie for you! Join us tonight for #MondayMuggers and watch DARK ANGEL: THE ASCENT. It’s on Amazon Prime!
As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie! Every week, we get together. We watch a movie. We snark our way through it.
Tonight, for #MondayActionMovie, the film will be 1989’s NamAngels! I picked it so you know it’ll be good.
It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, find the movie on YouTube, Tubi, or Prime, hit play at 8 pm et, and use the #MondayActionMovie hashtag! The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.
Actress Kathleen Wilhoite is 61 years old today. Wilhoite is a talented actress and singer who has over 40 years worth of film and TV credits, including movies like ROAD HOUSE (1989), with Patrick Swayze, and BAD INFLUENCE (1991), with Rob Lowe and James Spader. The movie I’ll always appreciate her the most for is the fun Charles Bronson badass cop movie, MURPHY’S LAW, that was made for the infamous Cannon Studios back in 1986. Handcuffed to Bronson for portions of the film, Wilhoite’s character Arabella McGee has an extremely interesting vocabulary, which mostly consists of cheesy, crude and vulgar insults for almost every person she comes into contact with. I saw this movie when I was 13 years old, and I copied way too many of her zingers for my own personal use over the next few years. Heck, 38 years later, I’m still not above calling the people I love “snot licking, donkey farts!”
Happy Birthday, Kathleen! Enjoy the video below that shares all of those insults from the movie!
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
95 years ago today, Robert Evans was born in New York City. He started out working in his brother’s clothing business but a chance meeting with actress Norma Shearer led to him becoming an actor. And while Evans, by his own account, was not a particularly good actor, he did prove himself to be very skilled at playing the games of Hollywood. Evans eventually moved from acting to production, first as an executive at Paramount and then as an independent producer.
He lived a life as glamorous and tumultuous as the stars of his pictures and his memoir, The Kid Stays In The Picture, is considered to be one of the classic show biz autobiographies. He hung out with cinematic rebels like Jack Nicholson and Robert Towne and counted Secretary of State Henry Kissinger as a friend. He suggested that Francis Ford Coppola should direct The Godfather and, when Paramount put pressure on Coppola to cut the film down to two hours, it was Evans who famously announced that a two-hour Godfather was nothing more than a trailer. He lost Ali MacGraw to Steve McQueen and, again by own account, he lost a lot of potentially productive years to cocaine. (The Cotton Club scandal is one of the wildest in the history of Hollywood, though it should be noted that Evans himself was never charged with any wrongdoing.) But, for all that he lost, Evans continues to gain admirers as being the epitome of the producer who was willing to take chances. For all of his flamboyance, Evans had an eye for good material and the willingness to protect his directors. In many ways, he was as important to the cinematic revolution of the 70s as the directors that he hired. When Evans passed away in 2019, it was truly the end of an era.
Here, in honor of the birth and legacy of Robert Evans, are 8 Shots from 8 Films that Evans produced, either as studio chief at Paramount or as an independent producer.
8 Shots From 8 Robert Evans Films
Rosemary’s Baby (1968, dir by Romnn Polanski, DP: William A. Fraker)
Love Story (1970, dir by Arthur Hiller, DP: Richard Kratina)
The Godfather (1972, dir by Francis Ford Coppola, Cinematography by Gordon Willis)
Chinatown (1974, dir by Roman Polanski, DP: John A. Alonzo)
Marathon Man (1976, dir by John Schlesinger, DP: Conrad Hall)
The Cotton Club (1984, dir by Francis Ford Coppola, DP: Stephen Goldblatt)
The Two Jakes (1990, dir by Jack Nicholson, DP: Vilmos Zsigmond)
Sliver (1993, dir by Phillip Noyce, DP: Vilmos Zsigmond)
Alessandro Nivola has some good credits in movies like MANSFIELD PARK (1999), AMERICAN HUSTLE (2013), and THE BRUTALIST (2024), but he’ll always be special to me as Pollux Troy, the younger brother of Nicolas Cage’s Castor Troy, in John Woo’s most awesome American film FACE/OFF!
In celebration of Nivola’s 53rd birthday, enjoy this little taste of late-90’s coolness (the link can only be watched on YOUTUBE, and it’s worth it):