Buckle up for a wild ride with Primate, a film that embraces the chaos of creature features without the weight of subtext or pretense. This week’s offering is a refreshing departure from the heavy, trauma-laden horror films we’ve been subjected to lately. British director Johannes Roberts opts for a straightforward approach, giving Gen Z their very own version of Shakma, a quirky 1990 film about a baboon gone berserk due to an experimental drug.
Unlike its predecessor, which took time to cultivate a cult following among fans of so-bad-it’s-good cinema, Primate is poised to capture attention much more quickly. It’s a slicker, more polished film that effectively swaps out a baboon for a chimpanzee, transforming him from a mere test subject into a beloved pet. With a runtime of 89 minutes and a fast-paced structure that feels like a thrilling amusement park ride, there’s scant opportunity for life lessons, but it serves as a stark, grisly reminder of why chimps shouldn’t be viewed as family members—a lesson that still seems lost on many (as noted in a recent documentary).
At the center of the story is Ben, the chimp who becomes part of a family in Hawaii, where he was welcomed home after the late matriarch’s work in linguistics brought him from the lab into their lives. Ben cohabits with Erin, a teenager played by Gia Hunter, and her father Adam, portrayed by Troy Kotsur, an Oscar winner for Coda. Their luxurious, yet isolated cliffside home becomes a backdrop for tension when they are joined by Lucy, the eldest daughter (Johnny Sequoyah), who has been reclusive since their mother’s passing, and her friends, who are there for a carefree weekend. However, the fun comes to an abrupt halt when Ben begins displaying some disturbing behavior, particularly after being bitten by a mongoose.
The film sets the tone early with ominous text revealing that Ben has contracted rabies, leading Lucy to tell her friends, "he’s not Ben anymore." The once-cuddly little brother morphs into a bloodthirsty monster, resulting in a horrific first encounter that forces the group to take refuge in the swimming pool—Ben’s inability to swim, exacerbated by the rabies-induced fear of water, adds to the tension. Roberts doesn’t waste time getting to the action, perhaps too quickly for some, as a few additional scenes showcasing Ben as a harmless pet could have deepened the emotional impact of his transformation. Yet, once the thrills commence, it’s a relentless sprint toward the climax.
Admittedly, I mistakenly assumed the film would be rated PG-13 due to its youthful cast and the industry’s inclination to appeal to broader audiences. However, after witnessing the brutal opening scene where a character’s face is gruesomely torn off, I realized my error! Taking full advantage of its hard R rating, Primate delivers more jaw-dropping violence than many recent studio horror films, with creatively grotesque moments that linger in your mind (like a shocking fall that concludes in an unexpected and brutal manner). While the gore is plentiful, Roberts smartly balances it with suspense, keeping viewers on edge with Ben’s unpredictable behavior.
Moreover, the practical effects used to bring Ben to life are notably effective, bridging the gap between the viewer and the on-screen chaos, enhancing the immersion of this horror experience. As Ben evolves into a full-fledged slasher villain (complete with a Halloween-themed wardrobe nod), the absurdity peaks, yet the electrifying finale where the family fights back remains gripping enough that you’ll be invested in their survival. Thanks to the talented young cast and Kotsur’s warm portrayal of the father figure, I found myself surprisingly engaged—how many mainstream films in recent years have prominently featured a deaf actor and incorporated multiple scenes in sign language?
Johannes Roberts, alongside longtime collaborator Ernest Riera, clearly pays tribute to the creature feature classics of the 1980s. While certain homages hit their mark, such as the reliance on practical effects and the antics of rambunctious teens, some choices in the synth-heavy score may detract from the tension instead of enhancing it. This mirrors issues seen in Roberts' previous work, The Strangers sequel, which also struggled with maintaining suspense. However, having directed hits like 47 Metres Down and its superior follow-up, Roberts shines in this project, showcasing a newfound confidence and efficiency as a genre filmmaker. After a rather lackluster year for horror cinema, Primate serves as an exhilarating kickoff to 2026.
Primate will be released in theaters across the US and UK on January 9 and in Australia on January 22.
