Transcript

Under Paris · Citizen Frame

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Music.
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Hey, buddy. Welcome back to another exciting episode of Cidestive Frame as we
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come to the tail end of Shark Month.
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Finn is the French for Finnish. So, yeah, there you go.
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And we're doing a French shark film to wrap it up. Perfect.
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Oh, I'm waiting for that one. What about French for you? Oui.
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Yeah, futois. Bonjour. I'm using French for you. S'il vous plaît.
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No, you don't even know what futois means, do you? No, because I don't speak
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fluent French. But obviously you do. So do enlighten us.
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It means fuck off. Fuck you. Right. Okay.
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Yeah, so we were trying to get another shark movie in here And we wanted to
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do Dangerous Animals I don't know where that's gone or went It's a weird one
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So we're going to go ahead and pepper this one in Now,
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this one was made It was shopped around for a while By a French director Who
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I kind of admire some of his stuff And finally Netflix bought it out It's written as a two-parter,
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so we are getting a sequel,
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because it does end kind of in a climax.
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It became quite a little hit under the Netflix banner, and that film is under Paris.
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And this is probably almost a copy and paste of Deep Blue Sea.
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Not really fucking with Mother Nature, as Deep Blue Sea was more genetics and
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stuff like that. This one's more about the pollution that's going on in the
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oceans and how we're destroying the oceans and so forth.
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So that pretty much where these sharks become their own little altered sharks.
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A whole new shark will be discovered. Well, again, I'm no marine biologist or evolutionist.
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I'm not Charles Darwin, but I'm pretty confident that massive liberties are
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taken here with science and evolution. But we'll get to it.
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Yeah, evolution, I agree with. I don't think they've created their own shark,
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but there's some truth to something.
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Yeah, but the thing is, as well, evolution, as far as I'm aware,
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again, I'm no expert, I'm no scientist.
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Things like, you know, sharks developing and adapting to basically fresh water.
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Would take millions of years. Yeah. At least thousands.
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In this film, it happens overnight. Yeah, of course. I mean,
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actually, it's three years. Oh, wow. Okay.
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Dr. Woods. Yeah.
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But there's some cool stuff in there. I like when they do. We did that.
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We talked about those Deep Blue Sea.
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Yeah, they're going to take liberties. It's a fucking movie.
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It's a creature feature. They can try to be smart as they want.
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It's a fucking creature feature at the end of the day.
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Well, there's some truth in there about sharks don't have to have sex to give
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birth, stuff like that. That's all based on truth.
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So, she has some cool little facts in there, which, of course,
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me being a marine biologist, I will bring all that stuff. A movie biologist, right? Right, okay.
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Marine biologist. Okay. Let's go fucking watch Superman.
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Well, we'll get to that at some point, I hope. Yeah, we need to do a Superman
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retrospective because me and him got a fucking massive hate going on right now
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for the new Superman. Yeah, there's tension. Yeah.
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He was sucking his dick, and I think it's terrible.
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But when you read up about Superman, that's the way it is.
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There's either people who really like it or other people who fucking hate it.
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I would say. There's no common, there's no middle man with Superman. I would say. It's weird.
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Watching it, although I did really like it, I did know that it was going to
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be really divisive with guns like that anyway.
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You know? You either love it or you hate it. It's Marmite.
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Yeah, true. We'll give it that. But it's no Guardians of the Galaxy, that's for sure.
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Okay. Back to this other film. Yeah. The one where's supposed to be a review.
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So Under Paris. It's a French horror. It's a French action horror disaster film
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about a giant shark terrorizing Paris during the World Triathlon Championship.
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I love this scene. I love the ending of this movie.
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A marine biologist still traumatized by the past shark attack that killed her
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team and her lover is called to investigate when a shark is discovered in the send.
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She teams up with an environmental activist who's a fucking vile guy.
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I hated this character and I'm so glad what happens to them.
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And a reluctant police officer. Yes. Well these guys essentially the deal that
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the police officer and his team are essentially river police the same but they're
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also it just by chance happens rambles.
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But anyway Yeah, another leap in logic, but yeah.
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What? The River Police. You're taking, well, yeah, they have them in the States too.
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What's the problem with that? I know, but generally, I know they have them everywhere,
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but generally, River Police are not action heroes.
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Now you're just taking an action film, and now you're just coming at it for
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stupidest reasons. Yes, I'm not pecking.
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Yeah. I'm not doing this review if you're doing that. Yeah, no,
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I won't. I mean, what's the point?
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If you're going to nitpick a film to shreds, a creature feature,
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because of something stupid like that, what's the point?
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I want a masterpiece like Alligator or Piranha.
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That's my problem with you. You're already going to tear this to shreds,
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but Alligator is a fucking work of art. Yeah, absolutely. Yeah.
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Idiot. All right, so we got, this is directed by Xavier Jens,
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kind of going all over the place here, and I like his stuff.
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He did a film, a French film in 2007.
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It's very dark and very violent and creepy.
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And it's kind of like a Texas Chainsaw Massacre set in the French underground.
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It's quite good. It's called Frontiers.
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You guys should check it out. And then he did The Hitman based on the video
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game with Timothy Alphonse.
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Not great. Then he also did a film called The Divide, which is quite good.
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So he's done some decent stuff. He's done some good TV. so I'd like to see him
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do a resurgence here with this film because it definitely will get a sequel,
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and don't know any of the actors to be honest with you because I don't watch
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a lot of French cinema but we got Sophia, Adil, Leah, Mika, Caro,
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Nils, Marcos, Leopold and the really bad mayor.
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Oh sorry, female French Mervaughan, yes.
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Yeah, she's a character that's for sure.
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She has nothing on Murray Hamilton. i actually know
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someone in the real world who looks really really like
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her so it was sort of off putting for me but i
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would say as well that i actually
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watch it you know the way on netflix these days you can watch things
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with like an english dub i watched this with it with the english dub and it
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was just quite surreal and the only time i'd ever done that before was with
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squid game and it's just quite a it's quite a surreal experience you know it's
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it's quite off putting so it is but anyway,
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So we open it up. This is kind of creepy. It's kind of sad, actually.
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The one thing the film does right, there's quite a few things right, actually.
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Some things don't work. But it doesn't preach to you.
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It does tell you, it opens up where we see all this garbage,
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all this plastic that's gathered outside of the Pacific, North Pacific Ocean.
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And this thing actually exists. It's called the Great Pacific Garbage Patch.
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It's off Hawaii, I believe. I'm not sure where exactly it is.
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It's disgraceful, though. It almost... Oh, no. It's unreal.
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I mean, humans are fucking vile, you know, with stuff like this. Yeah. Yeah?
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And then you see, like, a sperm whale trapped in the plastic,
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and this is where they see it's been eaten a bit, obviously, by sharks.
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But it pretty much just does this data dump on what's happening to the oceans.
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And, I mean, it's pretty sad, actually.
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Now the great thing about the film they don't get preachy
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and they do bring in this environment these activists
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who are just fucking obnoxious and risk
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the lives of cops and stuff and i love where the film goes
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with them and we'll dig a little deeper but the
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beginning of the film does talk to
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you about what is happening with the oceans and then
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they leave it at that they don't kind of yeah and also mentioned what
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is actually probably even worse because i think
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with the pollution a lot of it's down to stupidity but there's also
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hunters who hunt and kill sharks for their fins
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basically and and they'll make makeup appliances or
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whatever with it so that's even worse to me yeah it's like hunters hunting just
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to hunt and that kill and that take of the whole animal to make money yeah yeah
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they sell them to cosmetics companies there you go to get your makeup on karen
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next time you can wear your makeup next time you're when you're putting your lipstick on, Trevor,
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you go out with the boys, you can now realize, oh, this is probably a matter
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of sharks. Yes, lovely stuff.
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So this is going to be a long fucking podcast, and it's not going to be about
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the fucking film, I'll tell you that right now.
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Yeah, so she's looking for a shark that she tagged called Lilith,
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and that's how they kind of got to this area.
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But what's happened here is their theory is because of the plastic.
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And I'm a little confused. Oh, I was confused, all right. Trust me.
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Yeah. I think the script writer was even more confused.
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Deep Blue Sea had a, you know, as batshit crazy as this, did give us a reason
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why these sharks became smarter and yada, yada, yada. Okay?
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Don't fuck with Mother Nature. And this one, they're saying because of the garbage that's in the ocean,
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the shark's blood and the shark's or what they're eating, what they're taking
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in is causing genetic change. Yes, essentially.
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I think that's what they're saying. Essentially, also they're pissed off, the sharks.
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They take things personally because it's a big coincidence that she just happens
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to be working beside the Seine whenever Lilith, the shark, pops up again.
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But yeah, the plot has to be forwarded. but
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yes essentially i don't know it's not really explained it's
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basically bullshit evolution pseudoscience yeah okay fair enough well the same
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thing with but it's okay if a mad scientist is experimenting on dogs and throws
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the corpses of the dogs down the sewer and the alligator eats the dogs and becomes
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massive alligator that's what works for me.
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Fucking idiot works for me yeah okay you know the problem here i think is it
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gets bombed down and trying to be serious with the bullshit explanation with
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i don't think it does that's my point you get it here and then they move on
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yeah i know but yeah they do and we're.
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We're getting away from, I just wanted to bring that up because I do think that
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it does its day dump and then moves on.
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But anyways, now, one thing about underwater films and or anything shot underwater,
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it could be murky and crappy.
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I got to admit, the cam work underwater here is beautiful.
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It's the one film that it's, everything's clear.
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You can see everything, especially even underneath the plastic that the divers
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are under before they get attacked is gorgeous almost, as horrific as it is.
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So when Lilith decides, fuck this shit, and attacks her husband or boyfriend,
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whoever it was, Chris, he gets eaten.
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These guys get devoured. They don't show you much, but it's a lot of chaos,
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kind of like they do with Piranha, but it's still effective.
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But what I do like about it is when she jumps in, and it gives her a little bit of a little arc.
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At least she tried to save them, despite it being her fault.
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Because she makes a line. They wanted to leave. Her boyfriend or husband wanted
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to leave because he felt something wasn't right with that shark when he ran into Lilith.
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And she insisted that they stay down there, and he gets a sample from her.
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And that caused the chaos.
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Technically, their death is on her. Yeah, it's brought up later.
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But when she jumps in, great shot when she gets, it's ironic too,
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where Lither goes to zoom past her and her leg gets stuck with plastic that's
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connected to the shark and starts pulling her down.
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And she starts, you know, with all the pressure kicking in and she starts,
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you know, her ear starts bleeding and so forth.
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She has a really nice shot and I really enjoy it. She obviously survives,
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but it's a nice intro to what she went through to get three years later.
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Throughout this, with all of the bullshit sands, I did actually appreciate that
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touch with the whole pressure and being dragged under C or ears bleed,
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and it looks horrendously painful. Obviously, it's not real.
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But so, yeah, I thought that worked quite well. It sets it up well.
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It's quite a good opening.
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So there you go. There's your intro. There's why the shark's going batshit crazy.
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Now, we're on the scent here now, and it's got a couple easy,
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you know, plant the Easter eggs a little.
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Right, but the bombs from World War II?
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Yeah, you've seen the shells from World War II, the unused ones,
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or the ones that didn't go off.
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And these salvagers find it. Oh, what it is. Oh, these are shells.
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Oh, put those away. Those won't come back into play.
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It is. There's a lot of plot conveniences, I guess you can see,
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or plot devices that are peppered in. Now, they're handled well when they're used.
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But I do like the intro to the characters and the way it's done.
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The kind of, you meet Mika, and then you've got her friend and partner, Ben.
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Then you've got Adele. Adele is a cop.
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Then you've got Sophia. those are your main your main four then you got other
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characters peppered in Nils Corona and so forth not that the names really matter
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we just want to see people get eaten well yes exactly,
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what I do like about the film is,
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it these environmentalists or I call them extremists get what they deserve because
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they're obnoxious they're shits and it's finally a film where they're going to show you.
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Both sides of the story where you've got, you know, we need to change certain
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things in our behavioral, especially with the ocean, but it also shows these
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extremists and what they would do to...
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Well, they're putting everybody in danger.
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Yeah, trying to save the shark. Like when Mika, who you think is going to be
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one of the lead characters, ends up being, quite frankly, I think, the villain.
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And even her partner, Ben,
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is the one who actually saves the day because she realizes, like,
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for instance, when the cops are down there in the water trying to investigate,
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they have to find, they have to prove to the mayor that there's a shark,
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all right? Yeah. Gee, this story sounds familiar.
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And so they're down there, and Mika makes Ben, who's kind of like the IT nerd, take the tracking off.
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So now the cops are blind, and Sophia can't find the tracking device anymore
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where Lilith is, and putting these cops at risk.
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Well, they find out Mika is responsible for that because Ben feels bad for what
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she did and tells Sophia what happened.
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And this causes these dipshits who think they know everything about everything goes into the, I love it.
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I do like the, when they go underneath to the catacombs.
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Yes. I like the sewers and stuff. Those are some of the best sequences.
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And they're in the sewer and they're trying to get Lilith to come to bed. So save Lilith.
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This stupid ass Mika is going to go in to swim with the fucking shark because
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it won't hurt them and try to save it before the cops kill it.
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Swim with sharks, you'll get fucking bit.
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Fucking idiot. What a fucking idiot. Yep. Clueless, clueless idiot.
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And what's great about the scene is that when the cops have to go prove that
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there's a shark, they know where they're going because if Bean tells them what's
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happening, they're going to meet in the catacombs or the sewers, wherever they are. Yes.
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And you got the elements of the cops trying to get there, and then you got this
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huddle of mass twats trying to summon up the shark to save it.
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And it's a nice collide because once the cops get there, all shit hits the fan.
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And we talked about quick chaos we saw in Piranha versus quick cuts and,
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you know, fast motions, which worked because he couldn't afford to show you
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all the carnage and so forth.
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But the putting you in the mix of it does work. And they do that here.
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And again, clean photography, underwater photography, above the water photography, it all works.
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Limbs coming off. best shot of the movie when Mika gets fucking devoured and
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the shark comes out of the water.
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Love that shot. But here's the problem
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I have with all of this while I do appreciate all of that and stuff.
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The CGI is terrible and it sticks out like a short thumb.
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I didn't really notice it. I didn't really. Yeah, there's some flaws in some
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of the CGI. I'll give you that. But it didn't take me out at all. It did with me a bit.
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Yeah, I don't. The budget was 25 million euro. So
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I'm not going to judge it on it it it's to each their
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own I guess you know if I was watching a Marvel film I'd expect it to be perfect
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but when I'm not talking to 300 million blockbuster I'm talking to 25 million
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25 euro that's the way I'm looking at it but yeah I hear your point but you
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go ahead and pick on it fucker well it's no alligator you know yeah,
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stop motion well Morris the fucking you know you Got actual actor allocators and that, you know?
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And the mayor's so over the top. So, well, people are dead now.
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And she goes, she says something like, we need to close the river.
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You got 12 people are dead.
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And she, what's she say again? She's so, she really tries to murder Hamlet to
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it. Yeah, she wants to cover it up.
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Because obviously this bullshit triathlon thing cost billions.
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Although you wouldn't think it for a second, whenever we actually see the triathlon later on.
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But apparently this triathlon cost billions. So it has to go ahead and she wants to cover it up.
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I'll say one thing about them. They're very good at covering up because they do get away with it.
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I mean, where were the families screaming about, you know, whatever you call
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these dipshits who get killed, you know, the environmentalist,
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you know, the activist types.
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Where were their families? You know, why weren't the press, are the press really
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that shit in France and Paris? Yeah, yeah, yeah.
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Yeah, she says 1.7 billion in cost. Well, it's not because of the,
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what you see, like the little flags and shit. It's what they did to the systems.
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They had to clean everything. Yeah, that's why they, that's what they're talking about.
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I would say, apparently that is an actual thing that is really going on in Paris
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at the moment, where the Seine is being depolluted.
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So, I suppose it's a nod to what's happening in real life. Wow, look at that, realism.
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Realism, in under Paris. Yeah. You're welcome. It's like a documentary, actually, this.
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I don't know. I do like the fact that they find out, they keep seeing the shark,
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but they don't know where it is.
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And obviously there's this iPad she uses, whatever, right?
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And you're looking for the shark and it has a picture of a shark.
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And, but obviously she probably put that as the icon, but it's like in the middle
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of the sand, I can't find it anywhere.
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Well, it's not even near the sand, it's in the catacombs. So your map kind of sucks.
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Because when they're diving, they look to the left and they see these little
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cages that lead into the catacombs that are sealed off, and they can see the sharks swimming past.
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So that's how they know it's in the catacombs. You get the old fenders whale glimpse that?
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Was that? Oh, yeah, yeah. The film, actually, before everything kicks off,
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even before Miki gets eaten, the whole activists get chomped.
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There's very little action.
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But what I do like about it, it's, I got into the characters,
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it's fast-paced, and it builds a little tension as they're trying to look for the shark.
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Because once they do find the shark, the shit hits the fan and anything that
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has any kind of reality, any kind of serious realism is thrown out the window.
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Oh, well, I mean, the realism is thrown out the window, really,
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from the start. But I would have liked to have seen, I would have liked this
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a lot more if there had to be more batshit crazy stuff. Yeah, yes, it does.
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You do get a bit of it, certainly, when the triathlon does happen.
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And, you know, whenever they're down in the catacombs and stuff,
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you know, with all of the dipshits.
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But I just wanted, I wanted more gore, you know, and actual,
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you know, physical, practical effects with the gore.
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You do see the odd amputation, you know? You can't get practical effects for
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this kind of stuff. You do see some, actually, to be fair.
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You get some, but you can't do it with this kind of film. I mean, I'm sorry, man.
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I'm the complete opposite. I don't know what the fucking movie you saw.
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Because at least this one, anyone, anyone who got touched by the shark,
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you see get devoured pretty much. I want more of that. Especially bullshit.
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Especially the triathlon when he pulls the people underwater and the shark just rips them in half.
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And you see plenty of that in this film.
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Plenty of it. Piranha did it better. People being devoured.
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Was it? Piranha did it better at the end, you know, whatever. No, it didn't.
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I'm serious? Yeah. I'm being completely serious here.
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But at those improve with that type of thing, but I just wanted to see more of a massacre.
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So when they find out that it's gate birth, I do like the shot when they're
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under the water in the catacombs and all these baby sharks are above them.
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Really nice shot. And those are the kind of shots I really appreciate.
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Again, underwater, clear.
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They keep it murky enough to make it more real, but it's clear enough. You can see everything.
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I do like it. And I do like the fact they discuss about, oh,
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certain sharks can give birth without mating with a male.
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I didn't know that. I mean, I'm not going to go into that because I really don't.
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But apparently it is true. There are certain breeds of sharks.
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It's called parthenogenesis. Yeah. It's also known as virgin birth. Okay.
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Dr. Woods steps in again to see if they, yeah. Well, you know. Yeah. You know.
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Yep. I'm not looking that up at all sitting there with your white lab coat and
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you know just rattling off these scientific facts you know.
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I got my shark charts right in front of me right now. Obviously,
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you know, you probably made the charts yourself. Yeah.
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Yeah. No, no, I would say, actually, although I've sort of biased the CGI in
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this, see the scenes where there's not action, but you still see the sharks.
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They're just like swimming about and stuff. That's actually well done.
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It's whenever there's like a big death scene, it does look, it does,
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it does stick out. No, it doesn't.
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No, it doesn't. I'll give you the Mika one. It's a little CGI,
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which I promise you're going to catch that because it's a hard shot to do,
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but everything else, no, because most of it's underwater.
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When you got the cops who were down there to set off the bombs,
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which I like this whole setup, and they're going to seal the sharks in the catacombs,
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and they'll let them just die of starvation or whatever.
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Boy, that does not come back and bite them in the face.
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And then you see each cop getting eaten. One cop will self-sacrifice himself
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to get the detonator, and he'll get eaten by like three sharks,
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and you see them being bits and pieces, and again, under the water,
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the more personal attacks are so well done.
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Now, you're not going to get that for every attack because it would be too much
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money to do that, but it's very well handled, just as good as you see in the mag.
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It's not better because the mag, quite frankly, didn't have enough carnage.
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That was the problem with the mags. It was too lighthearted. Yeah.
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Of all the shark films I've seen, this one ups the game. And so the carnage
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and everything flows nicely.
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And you do get to know each character, whether you give a shit or not.
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Well, this plays it more straight, much more straight than like the Deep Blue
25:43
Sea and all of the like Piranha and all these other ones, you know, these Jaws knockoffs.
25:48
This does attempt to play it much more straight.
25:52
Yeah, no, I agree with that. You'll have some comic relief. I think the mayor is that.
25:56
But I don't think... I watched it with English, in English dialect.
26:01
I didn't watch it with the subtitles.
26:03
Yeah, dub. Yeah, like I did. Which, yeah, I should have.
26:07
Because any time you translate a film and it's dubbed in English, it can come off hokey.
26:13
And it's really not what they're saying what's actually written.
26:16
Well, that's what I was saying earlier on about, you know, watching it.
26:18
It's sort of, it's off-putting whenever you watch these Netflix films.
26:22
With, you know, the English dub. I did it with Squid Game because I don't speak Korean.
26:26
I don't speak, you know, French either. Well, Squid Game's too long.
26:31
That's why you have to kind of, you'd rather have it in English because reading
26:34
subtitles for 10 episodes would be... I don't mind.
26:36
Subtitles, I find that your brain adjusts to subtitles after a while.
26:41
Yeah. You're right. You're right. I'll give you that. You know? Sure. But you know what?
26:45
Being honest, because when I watched the dub of this, the English dub of this
26:50
and Squid Game, I was being lazy.
26:52
So it was, it's easier to watch it with a dub than with subtitles.
26:57
I think it's because, come on, do we really need the dialogue?
27:02
You know, it's a shark, it's a creature feature. If I was watching gritty crime drama. Yeah.
27:08
You know, yeah, I guess. Classic cinema. At the end of the day.
27:12
Yeah, exactly. Or watching a good porn. If you're watching good porn,
27:15
you want subtitles, you know. Oui, oui.
27:18
No, with something, you know, with, yeah, with something like this here,
27:21
You're not hanging on every line of dialogue, you know what I mean? It's not exactly vital.
27:25
It's a shark runaround, essentially.
27:28
Now, I do like when they find the one dead shark and they cut it open.
27:32
You see all these little baby sharks coming out.
27:34
And she was talking about how this is the female. And this is what we're talking
27:38
about, the virgin birth.
27:40
And she was describing the shark and how it senses and the blood coming out
27:44
of the nose and blah, blah, blah.
27:46
But that's what she was talking about, taking in all the pollution and so forth.
27:50
And this is the outcome of what's happened to these sharks.
27:53
See, here, the practical here is actually really good. So I wanted more practical.
27:57
Yeah again yeah again you budgetary you
28:00
just can't yes i understand that but you know what what they show we talked
28:03
about that deep blue sea you know we talked about movies that cut away they
28:07
show you stock footage of a shark from national geographic yeah or something
28:11
this wasn't this all was practice whether it's cgi or practical and when they did show the shark,
28:18
very well handled and very well done but i guess there's limitations and only
28:22
so much they can do especially the fucking chaos that happens.
28:26
But to its credit this scene with the actual practical shark that gets cut open
28:31
and then all the wee baby because it's pregnant as well, all the wee baby sharks come out.
28:36
It's well done, it looks good I love when the mayor goes.
28:41
We're going to start the race We got 100 divers jumping in, this is the greatest
28:47
day of blah blah blah yada yada yada, and the minute she says that they'll burst
28:52
out of the cataclyle Oh, that was always going to happen.
28:54
You know, watching it, you know,
28:58
although Murray Hamilton essentially does the same thing in Jaws and all the
29:02
other knockoffs of it, it's just, I'm thinking to myself,
29:06
no human being would be so fucking selfish and stupid to actually let it go
29:11
ahead, knowing that there is literally shit-tones of killer sharks in the water,
29:16
which it does it anyway, because we've got to get our finale.
29:20
Yeah, yeah, of course. You got to have the villain. Yeah. Yeah.
29:24
The human fellow. And she's it. She's, yeah, a little over the top.
29:30
But I do like when the shark just goes full skin, knocks the,
29:33
you get what's left of the river cops. They get it here in a second.
29:39
Yeah. When the shark knocks them off the boat, takes a couple of them out.
29:43
I do like the little nod to Jaws when it gets caught in the netting. With the barrels.
29:47
And it keeps going. And then you see the yellow barrels. Yeah.
29:52
That's keeping the net afloat. That's, yeah, a little nod to Spielberg's masterpiece. You know what?
29:59
I think there's a great concept behind this film. I do want to see sharks in
30:04
an inner city, you know, a big city river, you know, attacking a city.
30:08
And I do love the bleak as hell finale because I was genuinely expecting it
30:14
all to be wrapped up in a nice bow.
30:16
It's basically an apocalyptic finale, you know?
30:19
Yeah, it is because there's no happy ending here Because what happens is we
30:23
come back to those shells, those
30:25
war, those, those shells that were never deactivated from World War II.
30:30
And they cause that explosion, that huge explosion. And it's nice.
30:33
It's actually, you talk about CGI.
30:35
This is nice CGI when the bridge collapses and cause, causing the massive flood
30:41
of the, from the catacombs to the sand itself leads into the city.
30:46
And all the sharks that they, they try to bury in the catacombs are coming out now.
30:52
And so it pretty much ends with a bunch of people being eaten and it's wonderful chaos.
30:58
And then the per cop, Adil, who's still barely alive, is on top of this roof,
31:03
which is now the city's pretty much flooded.
31:05
And he looks up at Sophia and goes, did we make it?
31:09
And she doesn't say a word because she's surrounded by sharks in the middle of the city.
31:15
The images of France underwater, the Eiffel Tower underwater and all the city
31:19
and all did hark back to me like apocalyptic type films you know even Planet
31:25
of the Apes with the buried Statue
31:27
of Liberty so there is I did like the apocalyptic ending essentially.
31:32
Well they said it's a two part so even in the credits in the you have a map
31:39
of Paris and you have the sin there and then you had the one dot which was the
31:43
shark at the one time but because of all the damage that's been done,
31:47
and especially from the explosion and the flooding,
31:51
you see the red lines through the rest of the credits is going all the way through Paris. Yeah.
31:56
So the whole, all of Paris now is in fact... You know, I've been thinking throughout this podcast,
32:02
my main issue with this, I feel that it's underdeveloped and I think,
32:06
I like the concept and I like some stuff with it, but I do, it feels like a
32:11
draft and I would have liked to have seen it to be given more budget and to
32:14
be developed more and refined more.
32:17
That's not fair to this film. This film has to have an introduction of some
32:21
sorts. They knew what they had. They know that the sequel is coming.
32:24
And because of the success of this, they're now able to get probably a bigger,
32:27
they're going to have to have a bigger budget for the next one.
32:30
They have to because you're going to have Paris underwater sharks.
32:34
So they're going to have to. And they will get it because the movie did well.
32:38
So I'm looking forward to that. But I don't mind going independent to try to
32:43
sell your vision and work with what they did.
32:46
When they try to, here's the problem with the film and it's minor to me,
32:49
bigger for you but minor for me, is when they saw the people getting eaten,
32:54
I love it, people getting cut in half and bitten in half, I love it,
32:57
I love the tension underneath the water, but when they try to go big Hollywood
33:01
shark-esque like when the shark comes up and knocks the boat in the air,
33:05
it flies in the air or when it eats Mika,
33:07
pops out of the water, that's where you can see it's CGI and it's not that great,
33:11
so when they try to do that big Hollywood pizzazz As with the money they had, it doesn't work.
33:16
They should have kept it more grounded and leave those kind of big scavaganza
33:21
kind of shots for the next film when they would have the budget for it.
33:24
Of course, they didn't know that it was going to be a success and,
33:27
you know, and that a sequel would be greenlit.
33:30
So I suppose they were just trying to go all in.
33:33
I actually did like that part where the shark comes up and the boat flies up
33:37
in the air. That was actually one of my favorite bits.
33:39
Yeah, but that's the worst CGI in the film. That's why I don't get your CGI,
33:43
Right, but that is bad CGI.
33:44
Yes, I know. But with the death scenes, it's clearly animation.
33:48
For want of a better word, CGI animation.
33:51
Especially the one, is it Mika you called the leader of the dipshits?
33:55
Yeah. Her death particularly, George, for me. Because I was wanting to see the
34:00
shark basically munch on her legs and stuff.
34:02
And, you know, proper. But it was just too quick and too... Oh,
34:06
there's a difference. Okay, so there's a difference between...
34:09
Violent shot or not a violent shot enough for you, you sick. Yes, exactly.
34:14
Well, in the shark film, I want to see fucking people being eaten in gory detail.
34:18
That's funny. You keep saying that, but you see plenty of people getting eaten
34:21
here. I did it all. Plenty. Yeah.
34:23
There's no lie. There's a shitload of people that get eaten,
34:26
and they show 90% of them.
34:29
Yeah, I want more. I don't think this film was ever going to win you because
34:34
you wouldn't say that, but for some reason, you just, I want more and more.
34:37
Well, what the fuck? It doesn't make any sense.
34:39
You just want a film of a shark going around eating people, no plot.
34:43
Well, basically, that's them. No, what you want is just a video game. No, this is what we got.
34:48
A lot of it. No, no, no. Quite the opposite. Quite the opposite.
34:53
You want a video game. I think it's underdeveloped. You just want a shark eating
34:55
things. It's underdeveloped. No.
34:57
How could it be underdeveloped if all you want to see is a shark eating people? No, no.
35:00
The characters and stuff, the characters are quite underdeveloped and they're
35:05
a bit sort of stocked characters.
35:07
I don't think they are. at all i think that first hour when the the the the
35:13
characters are quite developed adil sophia.
35:16
And mika and ben and nils all those guys all those guys are fine with me you
35:23
got a whole hour to meet them i was okay with the bale's the most likable character
35:27
in it and i would say i hope he pops up for the sequel if it does happen i think
35:32
the character deserves to you know there is some
35:34
good stuff here and yes there is a lack of budget that does affect it here's
35:38
the thing i have an issue with netflix films in
35:41
general and you know i like a budget that
35:43
they're given so it does feel like a tv movie
35:46
and and that's not the fault of the filmmaker you know you work
35:49
with what you've got in terms of budget so i would
35:52
have liked i as a viewer as an
35:55
audience member i would have liked to obviously have seen them get more budget
35:59
and have been able to develop everything right across the board here from the
36:03
script to the special effects the lot but again I can't knock the director for
36:09
that because you know he can only work with what he's given.
36:13
Yeah, but see, I'm the flip side of that. I know what the director was given,
36:17
and I know the director, and I think what he was given to work with, he's pulled it off.
36:23
And he's made quite a successful little shark film here. A lot better than some
36:26
of the shit that we see. I think this is better than Meg. I'm a big Meg fan.
36:31
I think it's almost- I actually think the second Meg's better than the first one.
36:35
I'd probably agree with that. I think I'm on board. I think I was on board with
36:38
that one. But I think this is almost up there with Deep Blue Sea.
36:42
It's not as good as Deep Blue Sea. The only reason it's not as good as Deep
36:48
Blue Sea, the characters are more developed.
36:52
I know the actors there, so I can appreciate the actors.
36:56
This is nothing against these guys because I don't know them.
36:59
I don't know a lot of French actors.
37:01
So maybe that's the problem. I haven't seen them in anything else.
37:05
You know what I mean? Yeah, I think it's Whale. So maybe that's not the movie's
37:10
fault. So I'm looking at it, I'm actually breaking it down, I think, pretty fairly.
37:13
I'm giving this movie a massive pass. And I hope, and I'm giving this guy the
37:17
benefit of the doubt, that he'll come back with a bigger budget on the second
37:21
one and give me what I want.
37:23
I wanted to see, as well, in terms of the script, more tongue-in-cheek humor
37:27
that we've got with the likes of Deep Blue Sea and Alligator and Piranha and
37:32
stuff. I think it takes it a bit too serious. Don't you get sick of that?
37:35
I can hear your point, but we've seen that.
37:38
Every film we've talked about has done that you know, I think.
37:44
There's nothing wrong with doing something a little darker No,
37:46
I know that there, but in terms of a killer shark movie, I like the tongue-in-cheek humour the Samuel L.
37:53
Jackson, you know, doing a speech and then getting eaten and that sort of thing
37:56
but, you know you know what, you know, you're saying you'll give this a massive
38:01
pass, I'm going to sit in the fence completely and wait for the sequel.
38:07
Even if they don't get a seat well I know it's been green lit but,
38:10
even if they did they lost the battle at the end and that's rare the hero comes
38:16
out of the water and the shark's blown up yeah no they lost I did appreciate
38:22
that it was subverting the audience expectations you know.
38:28
We always talk about something different and they've done that so I'm giving
38:33
it a pass It's a pleasant little surprise.
38:34
I forgot about this film until you mentioned it. We need to do another shark one.
38:38
Yeah, this is my pick. Yeah, I was like, fuck, I forgot about that one.
38:42
Yeah, let's watch that again.
38:43
I'm glad I revisited it. Definitely, I'm hoping a sequel soon.
38:48
Yeah, I'm waiting to give my opinion for when the sequel comes. Hopefully it will.
38:55
Massive shout out to a couple of new listeners.
38:58
Hong Kong. Hong Kong? Who are you in Hong Kong? 45 downloads yesterday from
39:03
you. Where are you guys? Who's in Hong Kong?
39:06
Reach out to us while you downloaded 45 episodes yesterday. Either A,
39:10
you're batshit crazy. Or you're glutton for punishment.
39:14
Yeah. B, you have no life. A masochist. Or C.
39:18
Yeah. No, we appreciate that. We've had a shark month that's been doing quite well.
39:25
And we always, you know, our retrospectives and our theme months seem to do
39:29
pretty good. So we'll definitely keep that going.
39:33
So thank you for all those downloads and thank you to the states.
39:39
The states have picked up quite a bit.
39:42
Vermont, Connecticut, Texas, and we haven't had a loner from Indiana in a while.
39:50
I think I've really upset them with the whole Yale thing. That was on me. Well, yeah.
39:55
Nothing like alienating your audience and pissing them off of course I wouldn't
39:59
do anything like that so sorry guys.
40:04
Yeah whatever shout out to another American listener of ours who just tuned
40:10
in for the last podcast Deep Blue Sea and messaged me and said she enjoyed it so hello to Annette,
40:16
oh hello Annette yes thanks for tuning in why are you talking to Trevor,
40:22
I mean come on well she was actually you know sympathizing with me because I
40:27
have to put up with your bullshit you know every week my god you know people say prayers for me,
40:33
oh maybe that's a bad thing no no people do need to say prayers for you trust
40:36
me you know your soul is fucking lost long ago yeah,
40:42
alright guys give us a shout at sis frame underscore podcast on instagram and
40:47
of course facebook if you want us to you got a good theme month you liked us
40:51
to try to tackle or what you thought of Under Paris.
40:55
It's kind of a mixed reviews, but it's done okay like most creature features get.
41:00
So give us a shout. Tell us what you thought. We're going to wrap this one up.
41:04
Up next, I have no clue. We might take a little breather before we jump into
41:07
the Final Destination retrospective and pepper in some basic, you know, one-offs.
41:12
And if you want to hear something, give us a shout before we do that. Maybe we can get you in.
41:17
We're wrapping this one up. Take care of yourselves. Have a good one.
41:21
Music.