Primate (2025)

If you're going to make a film that owes a strong debt to both Cujo and Halloween then it's quite a good idea to have a rabid chimpanzee at the heart of it, and that's exactly what director Johannes Roberts has done. Having also co-written the screenplay with Ernest Riera, Roberts gives himself every chance to make something that feels nicely in tribute to some classic horrors without seeming to slavishly adhere to their templates.

Lucy (Johnny Sequoyah) and her friends arrive at her isolated Hawaiian home, where she soon has to introduce everyone to the family pet, Ben. Ben is a loving chimpanzee who communicates via a soundboard device. Unfortunately, Ben is bitten by a mongoose, which creates a big problem for Lucy and her friends when they end up trapped by him. Lucy's father (Troy Kotsur) has to spend some time away from home, of course, but he might end up in a race against the clock before the end credits roll.

I tend to like the films of Johannes Roberts. They can be quite silly, but are often silly in just the right way. He also tends to make very good use of whatever financing he manages to arrange. Primate is enjoyably silly, putting the fun premise in a decent location, and it often looks much better than you'd expect something so proudly schlocky to look.

The main problem lies with the cast. They're not bad, but they aren't able to really make any strong impression, aside from being part of the group due to be terrorised by a killer chimp. Sequoyah is joined onscreen by Jessica Alexander, Victoria Wyant, Gia Hunter, Benjamin Cheng, and a few others, but they're very much a group in dire straits, as opposed to individuals working through various problems while trying to stay alive. That's not the worst way this lot could be presented, by the way, and many films have done far worse, but it's the main weakness. The main characters you'll remember once it's all over will probably be the one played by Kotsur and the one played by Miguel Torres Umba (he's the physical performer who does such a great job of pretending to be a chimpanzee). Oh, there's also a memorable uncredited cameo role for Rob Delaney.

There are times when you may be distracted by elements on the screen, either the slight strangeness of the impressive work done to make Ben seem like a real character or one or two moments that go a bit too heavy on the homage (a scene with a couple of characters hiding in a closet being the main offender there), but Roberts generally knows how to keep viewers entertained, and he's delivered a creature feature that feels like a perfect choice for those wanting something simple, tense, and a bit gory, all within a runtime that's just a shade over the 90-minute mark.

I'm not sure this will stand the test of time, but I can see it being well-received by those who either find it on sale or check it out when it hits one of the many streaming services vying for your eyeballs. And I'd happily rewatch it any time.

7/10

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Shudder Saturday: V/H/S/99 (2022)

I'm not sure how others feel about it, but I am happy that the V/H/S horror anthology movie series has been allowed to go on for as long as it has, and long may it continue. After my disappointment with the third instalment, everything else so far has kept me very entertained, and it's almost as if each one now keeps trying to just get a little bit weirder and wilder, with the emphasis more on fun than nerve-shredding horror. 

We get five tales of terror here. First up is "Shredding", written and directed by Maggie Levin. This is all about an amateur band that decides to break into an allegedly haunted, abandoned, music venue and upset some spirits by rocking out on the stage. Then it's "Suicide Bid", a Johannes Roberts-helmed story of a young woman who reluctantly agrees to be buried alive in order to be accepted into the one and only sorority she has applied to join. "Ozzy's Dungeon" (directed by Flying Lotus, who co-wrote it with Zoe Cooper) is all about the host of a children's game show being tortured by the parent of a child who was seriously injured trying to complete the final challenge on his show. "The Gawkers" (directed by Tyler MacIntyre, who co-wrote it with Chris Lee Hill) has some young men trying to spy on an attractive new neighbour . . . with complete ignorance of the danger they will find themselves in. And then, last but not least, Joseph and Vanessa Winter (aka the Deadstream people) give viewers "To Hell And Back", which is basically summed up by that title.

The only reason I won't name-check everyone onscreen here is because there are too many people to consider, as is often the case with anthology movies, but Ally Ioannides, Steven Ogg, and Melanie Stone were the highlights for me. Ioannides plays Lily, the young woman desperate to join a sorority in "Suicide Bid", Ogg plays the host of "Ozzy's Dungeon, and Stone has a lot of fun as some kind of hell imp in "To Hell And Back". I must say, however, that it's great to not want to single anyone out in a negative way. The shooting style, and ridiculousness of everything, helps, but there isn't anyone here stinking up the place.

Two tales here stood out for me, and those were "Suicide Bid" (Roberts is someone I think always deserves more love from horror fans) and "To Hell And Back" (Joseph and Vanessa Winter really underlining their emergence as names to keep an eye on). "The Gawkers" ranks just below those, boosted by a finale that makes use of a classic monster in a fun and interesting way. Then it's "Shredding", a fun start to things that is undermined by the overuse of the VHS stylisation, and "Ozzy's Dungeon" brings up the rear, although it's still perfectly enjoyable.

Even people who are used to me being quite vague in my movie reviews may feel that I have given away even less than usual here. I am erring on the side of caution, but every part of this film is more enjoyable for the fact that you can quickly figure things out as things unfold. You know that the people involved want to revel in the chance to cut loose and throw around a decent amount of insanity and gore, and every little twist or tweak is always in service of the fun factor.

If you already like this series then you should enjoy this latest entry, particularly if, like myself, you have enjoyed the revival of some modern horror anthologies that seemed destined to end on a low note some years ago.

7/10

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Resident Evil: Welcome To Raccoon City (2021)

Despite my inherent awfulness when it comes to playing videogames, and I know I have said this before, Resident Evil has been my all-time favourite gaming series since I first started battling zombies and solving puzzles when I first got a PSOne. I have enjoyed the games on various consoles since then (mainly different Playstations, but I also had a Nintendo Gamecube for a while) and have also taken some pleasure from the main live-action movie series, most often kept in the hands of Paul W. S. Anderson. The animated movies haven't been quite as good, but I can't deny finding enough in each one to ensure I have had to own them all, at least in digital form.

This, however, is a film that finally feels like the games (well, the first 2 anyway). That's not to simply dismiss all of the other movies now, not at all, but this is arguably the definitive cinematic interpretation of so much of what players love about the Resident Evil game series. And I am happy that we can enjoy both the other movies, often full of bombastic slo-mo and CGI-laden silliness, and this movie.

Written and directed by Johannes Roberts, although most of the events depicted here were already written for the videogames, what you get here is an adventure that throws together Claire Redfield (Kaya Scodelario), Chris Redfield (Robbie Amell), Jill Valentine (Hanna John-Kamen), Leon Kennedy (Avan Jogia), a young girl named Sherry Birkin (Holly de Barros), and Dr William Birkin (Neal McDonough). Raccoon City is about to become a very dangerous place to stay, full of infected people, dangerous dogs, and other mutated dangers, and not even the Police Station can offer safety for long. That's before we even  get to the reported disturbance at the Spencer Mansion.

While none of the cast may be causing Oscar-winners to start looking over their shoulders, they all do an excellent job with the material. Scodelario, Amell, John-Kamen, and Jogia show a variety of skills, and they seem to enjoy portraying the nominal heroes, while McDonough is an enjoyably untrustworthy potential villain. Tom Hopper makes for a good Albert Wesker, and it's nice to have a small role for the likeable Donal Logue, playing a Police Chief who knows that everyone should get the hell out of the city while they can.

It's the attention to detail here that really impresses. This is not really a great movie, but it IS a great Resident Evil movie. The characters all feel very much in line with their videogame origins (okay, Leon Kennedy may be overdone slightly, but his first adventure did have him as someone pretty heartbroken and hungover who just happened to be in the right place at the wrong time when the zombie nightmare began), the creature design is on point, making me wish we could see more of the monsters that cropped up in the games (please give me a giant snake or sharks in the next movie, and definitely a Plant 42), and the environment often feels as if it has been surgically transplanted from a console directly into the movie.

There's a good score by Mark Corven, great work done by the costume and makeup department, and everyone generally works in service to a script that allows viewers to feel a sense of familiarity without the potential accompanying boredom. Changes that are made are ones that make sense, cinematically, (the main one being how a character named Lisa Trevor is used, which is very clever) and I can't imagine any fans of the series thinking that any character or element has been done a major disservice. Even the relatively small amount of screentime for Ada Wong (played by Lily Gao) feels in line with her impactful involvement in the RE 2 game.

Roberts has a varied filmography, in terms of quality, but his best horror work is well worth your time. This is up easily there with his best. I really hope that it has done well enough to kick-start a whole new movie series in this vein. I'll still revisit all of the other movies available, but I already know that this is the one I will go back to most often. At least until I need my next fix of watching Milla Jovovich kick ass.

8/10

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Netflix And Chill: 47 Meters Down: Uncaged (2019)

I like sharks. They terrify me, and I want to look away, but I also have great respect for them as predators who are very close to the top of the food chain in their main environment. I used to read up on them, and various aquatic creatures, when I was a kid with the time to spend on special projects and absorbing factoids like some info-hungry sponge.

I cannot remember all of those facts here and now, and I won't use Google to make myself seem smarter, but I do remember that a) a shark can sense one drop of blood in a large body of water from quite some distance, and b) they can also sense the small electric fields given off by animals. They're pretty canny when it comes to finding "food".

So the fact that 47 Meters Down: Uncaged wants you to believe that a bunch of panicking teens could stay still, whimpering, while trying to avoid a large, blind shark is just one of the many preposterous elements that made it impossible to ever take seriously. I'll try to mention some other ridiculous highlights below.

Scheduled to go off on a boat ride, Mia (Sophie Nèlisse) and her stepsister, Sasha (Corinne Foxx) are instead persuaded to go off with Sasha's friends, Alexa (Brianne Tju) and Nicole (Sistine Stallone), to dive and explore an underwater city. It's an area that is being explored by Mia's father (played by John Corbett) and his team, although they will be at a different part of the site while the girls sneak in to have their underwater fun. And eventually they are all surprised by the giant, blind, shark. The appearance of the beast is so surprising that one of the young, thin, teenage girls pushes back in the water so far that she hits a stone pillar . . . so hard that it is knocked over, blocking the way that they entered the sunken city. Because that is entirely plausible.

I like director Johannes Roberts. He has spent the past couple of decades working with various budgets and resources to supply a mixed bag of genre thrills. Highlights include the superb, and too rarely mentioned by horror fans, F AKA The Expelled, the film preceding this one, and The Strangers: Prey At Night. But I'll even stand by some of his films that could be viewed as lesser efforts. The Other Side Of The Door at least tried a couple of different things among the more familiar beats, and Storage 24 simply aims to be an entertaining, low-budget, British sci-fi horror. He even manages a couple of good moments here, one or two set-pieces that still entertain in between the stupidity, and the final sequence is just the right kind of silly to prove a satisfying conclusion.

It's as a writer that he seems to have slipped most, once again working with Ernest Riera on this. You can either go for gritty realism and tension or complete absurdity, but trying to land between the two rarely works. Most people will start wondering how they are supposed to take this film when the girls all put on scuba masks, nothing covering their ears, and then are all able to talk clearly to one another once underwater. Maybe the masks were designed to work in the same was as bone-conducting headphones, I cannot swear that there aren't any out there that don't work in that way, but it just didn't seem at all likely. Then the blind shark appears. Then you get that pillar knocked over. And things just keep getting sillier and sillier, for the most part. It would be more endearing if you didn't suspect that there could have been the chance here for another properly good underwater horror from Roberts.

The main actresses don't do a bad job. They are all required to swim around and look frightened, and they do that well enough. There's the strained relationship between the stepsisters, you get the one person delivering all of the information to the group (and viewers), and there's a great moment that has the classic freak out by someone who then tries something incredibly selfish. Make the rest of the plotting more believable and the cast would come out of it all a lot better. Corbett also does a decent job, and also provides some info at just the right time.

It's laughable in what it wants you to believe, a film that assumes everyone will be able to switch their brains off for the duration, and tests that notion to the limits, but if you CAN at least switch your brain off for some of the runtime then you also get some decent death scenes, and some crude jump scares that will provide a distraction for 90 minutes.

4/10

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The Other Side Of The Door (2016)

Why do people so stubbornly avoid adhering to the rules when given supernatural solutions to their problems? Probably because we'd have a shocking lack of horror movies otherwise. It often makes it easy to know where horror movies are going. Here, for example, it's easy to observe the tale of a grieving mother being offered one last chance to speak to her son and know that when she is told that she can only speak to him through a certain door, and must never ever open that door, that she's absolutely going to end up opening that door (hence the title).

Sarah Wayne Callies is that mother, Maria. She was involved in a car accident that led to the death of her son (Oliver, played by Logan Crenan), made even worse by the fact that she managed to save her daughter (Lucy, played by Sofia Rosinsky). Some months later, Maria is still tormented, her husband (Michael, played by Jeremy Sisto) doesn't know how to help her, and she attempts suicide. And that's when she is told about the one way that could allow her to say some final words to her son. The door, the one that she shouldn't try to open.

When I saw the trailer for The Other Side Of The Door I was left decidedly unimpressed. It looks pretty predictable, similar to almost every other mainstream horror movie released over the past few years, and uninteresting. Strangely enough, it IS all of those things, and yet I still ended up enjoying it a lot more than I expected to. At this point, I suspect I am maybe ready to automatically give a bonus point or two to any horror movie that isn't a remake, sequel, or connected to The Conjuring universe.

I will also tend to give a bonus point to anything directed, as this is, by Johannes Roberts, who also co-wrote the script with Ernest Riera (continuing their working relationship that has been working well for over a decade now). Roberts is one of the better genre directors out there, even if he doesn't always get the budgets to match his vision (as was the case with Storage 24), and this is another case of him doing solid work with ideas that are both derivative and still full of potential. The plotting and scares may be predictable enough, but they're all nicely handled, and you get some more impressive visuals dotted in between the standard grab bag of spooky CGI tricks.

Callies does well in the lead role here. In fact, I'd go as far as saying that this is her best work in years, thanks to the strength of her performance when in absolute misery before things start going all supernatural and tense. Rosinsky is also very good, playing a young girl who takes strange new circumstances in her stride, and Sisto does just fine as the husband/father kept out of the way for the many scenes when his presence won't help the engineered scares. Suchitra Pillai is the character who helps to direct the main character towards the door that leads to so many problems. It's a thankless role, many viewers will be waiting for her inevitable fate, but she does as well as can be expected in the role.

I'm not going to oversell this, the imagery and jumps are as enjoyable as they are familiar, but I am surprised that more people haven't given it a chance. Stemming from such a moment of pain and trauma that it is easy to identify with (even if I hope most viewers identify with it from a distance), this is a horror movie with a little bit more emotional weight to it than most. And I tentatively recommend it to horror fans who don't mind their genre fare occasionally being a bit glossy and slickly packaged for mainstream audiences.

6/10

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Netflix And Chill: The Strangers: Prey At Night (2018)

A sequel that nobody was really crying out for, released a decade after the original movie, I have to say that my hopes weren't high for The Strangers: Prey At Night. But I'd heard some people say they loved it, which was a plus, and I knew it was directed by Johannes Roberts (another plus, check out his filmography . . . he's like the modern Renny Harlin of genre fare).

And I ended up enjoying it, in a very different way from my enjoyment of the first film.

Although it starts with the usual nonsense about it being based on true events (almost every movie could be sold that way, considering how little you need to actually link things to reality), The Strangers: Prey At Night quickly sets itself up as something out to entertain, rather than completely unnerve and scare you. Not that it doesn't have unnerving moments. They're just interspersed between scenes that focus on murderous set-pieces, often accompanied by a fine selection of '80s tunes.

A family is heading off on a long journey, and they're due to arrive very late at a trailer park. There's the usual dollop of family tension, this time caused by a strain on the finances as the parents plan to send their daughter to a private boarding school, but that is quickly pushed aside when they start to realise that there's something amiss at their lodgings for the night, especially when a young girl comes to the door twice to ask for someone who isn't there.

Co-written by Bryan Bertino, who directed and wrote the first film, and Ben Ketai, this is a film that feels very much like someone cutting loose and having fun after having to show some restraint the first time around. There are some more kills, a more interesting environment for the characters to inhabit, and more moments that feel enjoyably cinematic.

Roberts directs with a keen eye, with both the script and the visuals allowing for some nice nods to a multitude of other movies (from slasher classics to the thought-provoking work of Haneke), and he maintains a perfect pace as he drags viewers through an 85-minute thrill ride that gets going quickly enough and doesn't really slow down until it's all over.

Cast-wise, the main family unit is made up of Christina Hendricks, Martin Henderson, Bailee Madison, and Lewis Pullman. Hendricks and Henderson are both solid as the parents, but it's Madison and Pullman who get to shine more as the kids/young adults. As much as I have enjoyed seeing Madison in the many TV movies she has appeared in over the past few years, I hope to see her in more films that don't feel planned around ad breaks. She's very good here, as is Pullman (who also gave a great turn last year in Bad Times At The El Royale), and both play well off one another as siblings who believably wind one another up until they are threatened, at which point they pull together to show their true united front.

All the more refreshing because it isn't being meta, or feeling the need to add a load of laughs in between the bloodshed, The Strangers: Prey At Night is a very pleasant surprise indeed. I'd even say that it edges just ahead of the first film, and I recommend it to all slasher movie fans.

8/10

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F AKA The Expelled (2010)

Written and directed by Johannes Roberts, F (released in America as The Expelled), is a low-key horror movie that springboards from a "hot button" social issue and develops into something surprisingly memorable and chilling. One of a number of "hoodie horror" movies released in recent years, this stands out from the pack thanks to the execution of the material.

David Schofield (who, to me, will always be THAT dart player from An American Werewolf In London) plays a teacher, Mr. Anderson, who ends up being assaulted in his own classroom by a pupil. Moving forward to almost a year later and Mr. Anderson is a broken man. He's separated from his wife, scared of every shadow, barely keeping his job and only able to force his daughter (Eliza Bennett) to spend time with him by giving her detention. His paranoia means that nobody takes him seriously when, one evening, he starts to suspect that the school is being targeted by some particularly menacing kids.

Roberts may have created a lean, effective script but it's what he does with the material while bringing it to life from the page that shows his strengths as a director. The camerawork is smooth, with a number of scares created subtly in the background of the shot, and the score becomes more and more haunting and downright spooky as the horror of the situation becomes clear to those caught up in it.

Schofield is as great as you'd expect him to be, but the supporting cast all do pretty solid work alongside him. Bennett is stuck with being a slightly annoying teenager, but the character has good grounds for her rebellious behaviour and the whole stroppy act doesn't feel overdone. Emma Cleasby, Ruth Gemmell, Finlay Robertson, Max Fowler et al do just fine. The only person who struggles is Roxanne McKee, not through any fault of her own. McKee seems to be onscreen as a visual aid, not that I'm complaining too much, but her character - a very pretty P.E. teacher who spends time after the standard school day working out some more before hitting the showers - is the least believable of the lot.

Choosing not to spoonfeed viewers, F instead decides to leave certain elements unexplained, preferring to leave people with plenty to think about after the end credits roll. Some people won't like that. They'll want more backstory and more answers. I really appreciated it, and think that it's this non-conformist approach that takes F up a grade (no pun intended).

8/10

http://www.amazon.co.uk/F-Blu-ray-David-Schofield/dp/B004EMRZQ2/ref=sr_1_3?ie=UTF8&qid=1379439004&sr=8-3&keywords=F