The setup sounds like typical bargain-bin fodder: a domesticated chimpanzee in a secluded Hawaiian residence contracts rabies and begins a violent rampage. Yet Primate, currently available on Paramount Plus following its winter theatrical debut, elevates itself far above standard schlock. While it certainly delivers on the promise of a rabid ape dismantling anyone in its vicinity, director Johannes Roberts transforms the material into a remarkably taut and effective creature feature. The film solidifies Roberts’ reputation as a premier architect of contemporary B-movies.
A veteran of the British horror scene, Roberts spent the early 2000s sharpening his skills on ultra-low-budget productions. Many of his early directorial efforts, such as Storage 24—which famously earned a mere $72 during its brief U.S. run—struggled to find an international audience. His breakthrough eventually came with the sleeper hit 47 Meters Down. By pairing a high-concept hook (sharks) with a claustrophobic scenario involving two sisters trapped on the seabed, Roberts proved he could deliver mainstream thrills with a mean-spirited twist.
Image: Paramount Pictures
In recent years, Roberts has primarily operated within the realm of franchises, helming projects like 47 Meters Down: Uncaged, The Strangers: Prey at Night, and Resident Evil: Welcome to Raccoon City. While a resume filled with subtitled reboots might seem uninspired on paper, these films consistently outperform expectations through stylistic flair and a genuine love for the genre.
Take The Strangers: Prey at Night, which trades the original’s quiet dread for an energetic throwback slasher vibe, securing its place as a cult favorite among series enthusiasts. Similarly, Resident Evil: Welcome to Raccoon City often finds itself caught between Paul W.S. Anderson’s extravagant filmography and Zach Cregger’s upcoming reboot. However, Roberts’ take is a atmospheric love letter to early John Carpenter. The director has noted how the siege mechanics of Assault on Precinct 13 informed his film’s tight geography, while the haunting aesthetic of The Fog permeates his depiction of a dying corporate town.
Image: Sony Pictures
Roberts’ visual language is defined by bold, monochromatic lighting—witness the crimson saturation that turns a storm into a deluge of blood in Welcome to Raccoon City. He also possesses a fascination with the reflective, unsettling nature of water, a recurring motif that anchors the 47 Meters Down series and provides the backdrop for a stunning, neon-drenched pool showdown in Prey at Night. This penchant for style is often punctuated by playful musical choices, such as Bonnie Tyler or Journey scoring moments of cinematic carnage.
In Primate, these artistic flourishes remain a staple. When the infected chimp, Ben, corners his former family—Lucy (Johnny Sequoyah) and Erin (Gia Hunter)—much of the tension unfolds in a cliffside pool where the animal serves as a lethal sentry. Roberts rejects the natural beauty of the Hawaiian setting in favor of oppressive, nocturnal hues. The film also showcases his most visceral work to date, utilizing shocking makeup effects to demonstrate the raw, terrifying power of the titular ape. It is a polished, lean thriller that succeeds despite its familiar narrative bones.
Image: Sony Pictures
While Roberts may not focus on deep character psychology, Primate confirms his place among modern genre craftsmen like Jaume Collet-Serra and Alexandre Aja. Much like the directors who once used Nightmare on Elm Street sequels to showcase their technical prowess, Roberts has carved out a niche as a retro-horror specialist. Whether he’s playing in someone else’s sandbox or launching a new creature feature, he remains committed to a “back-to-basics” intensity. Primate isn’t just a B-movie; it’s his most sophisticated evolution yet.
Primate is available to stream on Paramount Plus. Resident Evil: Welcome to Raccoon City can be found on Disney Plus, while both 47 Meters Down titles are currently streaming on Prime Video.
Source: Polygon
