Three years later, Sophia is working in Paris when she discovers that Lilith is not just alive and well but happens to be in the Seine. This river runs through the heart of the City of Lights, which also happens to be the upcoming site of a triathlon, because of course it is. The attention that the event will bring to the city gives “Under Paris” a nice layer of “Jaws”-esque tension, with Sophia and her team knowing that there’s danger in the water but the mayor (Anne Marivin) refusing to take the precautions necessary to prevent the loss of life and the gain of shark food. Caught in the middle of the tug-of-war between Sophia and the mayor is a cop named Adil (the charismatic Nassim Lyes, who also starred in Gens’ last film “Mayhem!”), who everyone who has ever seen a movie knows will eventually be convinced by Sophia to do something to stop the upcoming watery bloodshed. But will it be too late?
Gens and his team of writers—there are four credited, and one can sometimes sense a few too many cooks in this kitchen—take a bit too long to set things up, but they deliver when needed. Even though Gens is obviously foreshadowing the carnage to come in the final scenes of “Under Paris,” they really pay off on that promise with a few scenes that need to be seen by anyone who has scheduled viewings around Shark Week or seen all four “Jaws” movies multiple times. It’s impressive insanity, and it ends with a sequence that recalls Roland Emmerich as much as it does Steven Spielberg.
There’s a version of “Under Paris” that’s smarter than this one (and a bit tighter in the editing department), but this is the kind of no-nonsense genre flick that seems perfect for Netflix in its brutal simplicity. It’s “Jaws” in the Seine. And there’s something almost charming about its willingness to be a blunt instrument in a time when so many movies overcomplicate or drag out their storytelling. “Under Paris” has some ecological messaging and commentary on the political games that cost lives, but it’s mostly about sharks and swimmers. And that works in any language.
On stage, comedians use their words to make their audience laugh, gasp, or think—sometimes simultaneously. But what happens when a joke is used against a comedian? It’s one of the many thorny ideas Ally Pankiw’s bold feature debut “I Used to Be Funny” wrestles with over the course of its emotional story.
https://github.com/stream-full/-Mua-He-Dep-Nhat-2024-FuLL-4K-Vietsub
https://github.com/stream-full/-Mua-He-Dep-Nhat-2024-FuLL-4K-Vietsub
https://github.com/stream-full/-Vay-Ham-4-2024-FuLL-4K-Vietsub
https://github.com/stream-full/-B4S---Truoc-Gio-Yeu-2024-FuLL-4K-Vietsub
https://pastelink.net/qej5uv73
https://foro.ribbon.es/topic/8884/for-the-first-15-minutes-of-what-remains-we-follow
https://forum.freeflarum.com/d/82757-for-his-debut-feature-ran-presents-a-truly-cold-unforgiving-world
https://herbalmeds-forum.biolife.com.my/d/92889-its-incredible-that-a-filmmaker-as-renowned-as-takashi-miike
https://wandering.flarum.cloud/d/77544-lumberjack-the-monster-isnt-a-great-film-but-its-good-enough
