Jane Chase a young American grad student studying at London Institute of Science takes a job as an assistant/housekeeper for anthropology professor Steven Philip at his isolated country house on the coast. There she would meet Philip's chimpanzees Imp and Voodoo, and very well trained orangutan Link. Here she would learn how to act around them, so when the professor has to go somewhere. He knows nothing will happen. However one-day Philip suddenly disappears and Jane notices that Link's behaviour is becoming more assertive, as he cuts off any chance of her escaping.
What is a series of effective set pieces make up this simple minded, but extremely tight and conniving cat and mouse monkey on the loose thriller. The Australian pair of director Richard Franklin and writer Everett de Roche (who both brought us "Patrick", "Road Games" and "The Visitors") does an able job of giving the film a professional touch, but the real stars of the show are the monkeys themselves. Trainer Ray Berwick does a splendid job of milking out the personalities and acting abilities of these chimps. Link's blank facial expressions are downright unnerving, because there's a real sinisterness hiding behind that placid (and well-dressed) frame! Roche's minimal set-up for the screenplay is truly inspired for what is a systematic exercise, while slowly letting the mysterious factors of story unfold and leaving the characters dangling there as they realise what's actually happening. Streaming through the script is a dry sense of humour that fitted right in, but there's a real vagueness surrounding certain details that really do stick out. Franklin's interesting direction is visually adept and the steady pace constantly builds the suspenseful situation, where it finally takes off in a rapid, nail-biting final half. The violence is not particularly graphic, with most of it off screen. He also uses the Victorian setting of the mansion within the gorgeously secluded backdrop to take shape and become a formidable presence. Underrated cinematographer Mike Molloy's atmospheric and abstract framing was that of high quality and the reliable Jerry Goldsmith flavoured score captures the right bounce with its ever-changing tenor of styles. The adorably bold Elisabeth Shue (just her second role after "The Karate Kid (84)" and showing some skin) is agreeably strong and convincing. The always-fine Terence Stamp, gives a subtle off-wired performance that was probably a little too short and abrupt.
What is a series of effective set pieces make up this simple minded, but extremely tight and conniving cat and mouse monkey on the loose thriller. The Australian pair of director Richard Franklin and writer Everett de Roche (who both brought us "Patrick", "Road Games" and "The Visitors") does an able job of giving the film a professional touch, but the real stars of the show are the monkeys themselves. Trainer Ray Berwick does a splendid job of milking out the personalities and acting abilities of these chimps. Link's blank facial expressions are downright unnerving, because there's a real sinisterness hiding behind that placid (and well-dressed) frame! Roche's minimal set-up for the screenplay is truly inspired for what is a systematic exercise, while slowly letting the mysterious factors of story unfold and leaving the characters dangling there as they realise what's actually happening. Streaming through the script is a dry sense of humour that fitted right in, but there's a real vagueness surrounding certain details that really do stick out. Franklin's interesting direction is visually adept and the steady pace constantly builds the suspenseful situation, where it finally takes off in a rapid, nail-biting final half. The violence is not particularly graphic, with most of it off screen. He also uses the Victorian setting of the mansion within the gorgeously secluded backdrop to take shape and become a formidable presence. Underrated cinematographer Mike Molloy's atmospheric and abstract framing was that of high quality and the reliable Jerry Goldsmith flavoured score captures the right bounce with its ever-changing tenor of styles. The adorably bold Elisabeth Shue (just her second role after "The Karate Kid (84)" and showing some skin) is agreeably strong and convincing. The always-fine Terence Stamp, gives a subtle off-wired performance that was probably a little too short and abrupt.