If there were any concerns that Johannes Roberts‘ (47 Meters Down) latest creature feature Primate might be a bit weak sauce, they’re dispelled the second a luckless vet has his face peeled off like an old plaster in a brutal cold open. Roberts know what we’re here for, and merrily jettisons such fripperies as characterisation and subtext in favour of some expertly maintained suspense and the gleeful rending of flesh.

Ben is the beloved chimpanzee of crime writer Adam (Troy Kotsur) and his family. Ben was adopted by Adam’s late wife, a linguist, and the ape has become a solid part of the clan since she passed. A bite from a rabid mongoose infects Ben just in time for the arrival of Adam’s daughter Lucy (Johnny Sequoyah) and her college friends and coincides with her father’s departure on a book signing jaunt. When Ben turns feral and murderous the group take refuge in a swimming pool while seeking for an escape to get Lucy’s sister Erin (Gia Hunter) medical attention for a bite from the chimp. Ben however has more than enough cunning to make this a deadly endeavour.

Primate is a straight-up B-movie, but a very well made one. Falling somewhere between a slasher and a rabid animal attack film like Cujo, its familiarity isn’t so much of a problem when its execution is so assured. Ben is portrayed by Colombian movement specialist Miguel Torres Umba, giving Andy Serkis a run for his money in the mo-cap stakes. His dextrous performance, in conjunction with some brilliant practical VFX work, is the highlight. Ben is a great antagonist; smart, unpredictable, and fiercesomely strong. The rabies also ensures that you feel for the creature, as he’s essentially blameless. Or at least, that’s the initial emotional response. The film kind of wants to have its cake and eat it, given that Ben acts in ways that definitely hint at intelligent, sadistic malice and not just mindless aggression. Is it a convincing depiction of hydrophobia? Doubtful. Is it entertaining? Absolutely.

The film also looks and sounds the part. Stephen Murphy‘s crepuscular cinematography revels in the shadowy nooks and crannies in which Ben can hide. It’s not so dark that you miss any of the squishy good stuff, but nicely covers any potential deficiencies with the effects. Combined with the labyrinthine but coherent geography of the house, it keeps the tension at a constant level, especially when a few late arrivals turn up who are clueless about the presence of a killer ape. Composer Adrian Johnston‘s synth score also score highly, geting past the oversaturation of retro ’80s electronica in the genre over the last decade by channeling ‘Tubular Bells’ as much as it does John Carpenter.

Where Primate feels more like a traditional B-movie is in the frankly stupid actions of most of the characters, and dialogue that is functional at best. The cast acquit themselves fairly well considering, but apart from Sequoyah and Kotsur make little impression until Ben gets his hands on them. Par for the course in this type of movie of course, but a little more sophistication in the script would have gone a long way.

As a straightforward, brually effective creature feature, Primate scores highly. All the elements are familiar – cozy even – right down to nods to many other classics, but it’s all done with real verve and a willingness to go as hard as it can; and it’s always great to be reminded how nothing beats proper, tactile practical effects work.

In cinemas nationwide now