The Primate Problem: Why a Killer Chimp Movie From a Gaming IP Director Is Actually Worth Your Time (Seriously!)
AI Gaming News Author · Polygon ·
Turns out a movie about a rabid chimp directed by the guy who did *Resident Evil: Welcome to Raccoon City* is surprisingly brilliant, proving that a true B-movie wizard like Johannes Roberts can make even the most outrageous premise sing.
Right then, gather 'round mates, because I've been tinkering with a rather peculiar bit of news this morning, and bloody hell, it’s wilder than a rogue spell cast at a wizard convention. We're talking about *Primate*, a movie now streaming on Paramount Plus, which – get this – is about a rabies-addled chimp going full serial killer. Sounds like D-grade shlock, doesn't it? The kind of straight-to-DVD flick you'd stumble upon at 3 AM and regret instantly. But here's the kicker: according to the clever chaps over at Polygon, it’s actually… good. Like, genuinely, surprisingly, 'how did they pull that off?' good.
This fascinating dive into B-movie brilliance was originally penned by Jesse Hassenger for Polygon. You can check out the full piece over.
Now, for those of us who spend our days deep in the digital trenches, the name Johannes Roberts might ring a bell – he’s the bloke who directed *Resident Evil: Welcome to Raccoon City*. Yeah, *that* one. You know, the film that had the unenviable task of rebooting a gaming legend, sandwiched between Paul W.S. Anderson's long-running series and whatever fresh hell Zach Cregger's cooking up next. So, what happens when this director, known for navigating tricky gaming IP, turns his gaze to a killer chimp? Apparently, magic. Or at least, some seriously well-crafted, tense, B-movie wizardry.
Roberts, an Englishman with a knack for turning lead into gold (or at least, shlock into satisfying thrillers), started his journey in the low-budget horror scene of the early 2000s. We're talking films that barely made it across the pond, some with U.S. theatrical runs grossing less than a fancy coffee. It’s a story many indie game developers can probably relate to – toiling away in obscurity, honing your craft, before one project finally *clicks*. For Roberts, that was *47 Meters Down*, a surprisingly successful shark thriller that blended a hooky premise (sharks! trapped divers!) with a recognisable star and a twist ending. It's like that indie game you've been following for years, that suddenly explodes onto the scene because it just *gets* its core loop right.
What’s genuinely intriguing about Roberts’ career since then is his penchant for sequels and reboots. *47 Meters Down: Uncaged*, *The Strangers: Prey at Night*, and that aforementioned *Resident Evil: Welcome to Raccoon City*. On paper, that list reads like a menu of 'potential for disaster' – a series of brand names with subtitles that scream 'cash grab' more than 'cinematic masterpiece'. But here's where Roberts shows his true colours, much like a talented game director taking a beloved but perhaps tired IP and giving it a fresh, engaging spin.
*The Strangers: Prey at Night*, for example, might not hit the same hushed, dread-soaked notes as the original, but it’s a cracking good slasher, leaning into that retro, arcade-y vibe that makes it a favourite among a certain subset of horror fans. It’s like a remaster that understands what made the original special but isn’t afraid to crank up the fun factor. And *Welcome to Raccoon City*? Well, even if it's got a rough road ahead, Roberts cited John Carpenter's *Assault on Precinct 13* as an inspiration, throwing back to older siege thrillers. It's a bold move, almost like a game trying to capture the essence of a classic PS1 survival horror while everyone's expecting *RE Engine* photorealism. He's not just recreating; he's remixing the DNA.
Watching Roberts’ films, you start to spot his signatures – like a game developer's favoured engine quirks or art style. He’s obsessed with impossible monochrome imagery, like red lighting turning rain into a bloodbath in *Raccoon City*. And water, oh the water! It shimmers with eerie menace, from the deep-sea dread of *47 Meters Down* to a neon-lit pool showdown in *Prey at Night*. It’s a recurring visual motif, a bit like how some game designers always have that one type of environmental puzzle or boss fight they keep coming back to. And the needle-drops? Oh, the needle-drops! Bonnie Tyler's “Total Eclipse of the Heart” over a slasher duel, Journey’s “Any Way You Want It” soundtracking pure mayhem – he's got a knack for using iconic tunes in hilariously incongruous, yet perfectly fitting, ways. It’s like a perfectly timed meme in a cutscene, mate; you just don't expect it, but it lands.
All those stylistic flourishes? They’re present and accounted for in *Primate*, even if it misses a stand-out musical moment (someone get the man some new records!). This time, the setting is a beautiful Hawaiian cliffside home, but Roberts turns the overnight scenes into a variety of menacing nocturnal glows, trapping victims in a pool while the chimp, Ben, guards the only exit. And apparently, it’s his goriest film yet, with inventive makeup effects that truly sell Ben’s terrifying animal strength. It's not just cheap jump scares; it's a commitment to the craft, like a game designer making sure every enemy hit-reaction feels impactful and every explosion is just *so* satisfyingly destructive.
Now, the review does acknowledge that Roberts isn't exactly a master of deep, compelling character development – an area where many B-movies (and let’s be honest, quite a few games) can stumble. But with *Primate*, he solidifies his place as a top-tier thriller craftsman. He’s the contemporary equivalent of those inventive directors who cut their teeth on *Nightmare on Elm Street* sequels, finding ways to innovate within established frameworks. He’s become the retro-horror guy, going back to basics even when dealing with someone else’s IP.
So, what does this mean for us gaming enthusiasts? It’s a reminder that true craftsmanship, a genuine understanding of what makes a genre tick, can elevate any premise. Whether it’s a low-budget indie game with a simple concept or a blockbuster with a tired IP, a director (or developer!) with a clear vision and an eye for detail can make something truly special. *Primate* proves that sometimes, the most unpromising-sounding adventures can turn out to be the most surprisingly rewarding. Who'd have thought a killer chimp could teach us so much about game design, eh?
Tags: film, horror, b-movie, director spotlight, gaming adaptations
Original article: Polygon