Matthew Stanton

"Under Paris" on Netflix is like 25% "Jaws," 15% eco-terrorism drama, and finally, in the last third of the movie, 782% "Sharknado: The 4th Awakens" - but, y'know, set in Paris. Cheer on the hundreds of catacomb-dwelling hyperintelligent flying supersharks (not making that up) who, for unexplained reasons, dislike the French (who aren't shown in the smartest light here). Characters enter the script only to serve as future shark food before the movie's ending (which, oddly, doesn't exactly end). Any grasp of reality is tossed aside in favor of crazy spectacle. At one point a local explosion sets off a massive chain-reaction of gigantic blasts down the Seine that obliterate major bridges, trigger a tsunami, and entirely flood all of Paris with a dozen feet of water (despite the city being 115 feet above sea level AND more than 100 miles inland from the nearest ocean coastline). It's all just a final excuse to allow hundreds of supersharks unrestricted access to the French. There has to be an "Under Paris" drinking game online somewhere, like "take a sip of Bordeaux each time a character enters shark-infested waters" or "drink when Berenice Bejo stares in horror directly into the camera." Kudos to Yannick Dahan, Xavier Gens, Maud Heywang, and Yaël Langmannfor for completely bonkers script writing. Five stars.

It's great. Alaqua Cox shines brilliantly as the anti-hero (no, let's say villain) Maya, skillfully portraying her intense emotions of rage and the relentless pursuit of revenge against a backdrop of a lifetime filled with lies and violence. Her character's journey is beautifully juxtaposed with the close-knit family community she left behind before making the move to New York City. Vincent D'Onofrio's reprisal of Kingpin continues to add layers of depth and complexity to the MCU's premier villain. The series, while delivering an emotional exploration of grief, does not shy away from impactful scenes of violence and explosive action. Clocking in at about 3.5 hours, the miniseries strikes the perfect balance, ensuring a complete and engaging storytelling experience without succumbing to the "padding" episodes that plagued some seasons of Marvel's previous Netflix-era shows. The authenticity of the setting and the portrayal of local characters resonate strongly, particularly with those who have grown up on or near a reservation. The continuous interplay of English, native language, and sign language throughout the story contributes to a consistent and natural atmosphere. Going in I worried about the "magic Indian" trope, but the show frames it as part of a cultural narrative, steering clear of the reductionist stereotypes commonly found in comic books and Hollywood films. The series even addresses how white audiences perceive First Peoples characters with a wink, exemplified by Graham Greene's amusing "Buythedamnthing, buythedamnthing, buythedamnthing..." chant performed for clueless tourists shopping for "Indian" art. Shout out to the Menominee and Mohican nations, as well as Alaqua Cox's hometown of Keshena, Wisconsin. The people there are truly remarkable.

Wonderful build of tension, switching tropes, and playing with expectations while believable characters work to out-think a terrible horror flying above their isolated California horse ranch. A lot of story is told during frequent silences throughout the film, sometimes matched with wry humor.

A lot of fun. The first hour is a fast-paced adventure (hommage in costume and music to Indiana Jones), charmingly powered by the charisma of its main stars Dwayne Johnson and Emily Blunt - but by the third act, the movie gets bogged down by a familiar narrative backstory (looking at you, Pirates of the Caribbean) and its predictable finale.

Best damn Western I've seen since Eastwood's heyday in the saddle. Love. Betrayal. Six-guns. Revenge. Pride. Wrath. Greed. There's not one character in this tale that doesn't have their own reasons for the evil and good they do throughout this movie. Every actor's choices are flawless, sweeping vistas, fantastic soundtrack. My only complaint is I wish I could have seen this on IMAX instead of watching on my computer.

Remember those late-night talks you had in college about the nature of religion? It's basically that but flips into "30 Days Of Night" mode in the last act. SUMMARY: A series of realistic characters with troubled pasts are drawn to a tiny isolated island of about 130 people, 30 miles off the coast of the United States. The local fishing industry is failing, homeowners have fled, the community is economically dying. Then the "miracles" and strange events start happening, with religious mania and dark secrets not far behind... REVIEW: Less a horror movie, more a fatalistic psychological thriller shown through a series of emotional set pieces written for talented actors to show off. Builds up and tears down relationships, addictions, faith, and family long before the final cataclysmic reveal of the Big Bad Monster's true goals - and the series' goal as a barren metaphor for group hysteria, the seduction of good intentions and all-consuming self-destruction in the age of COVID, partisan propaganda and echo-chamber isolation.