The Primevals bucks some Full Moon trends in a few ways. For starters, the costume details — specifically the Sherpa jackets and Rondo’s outfit — are quite good. They look authentic and worn, and they fit the characters’ respective personalities. The on-location shooting of the Dolomite mountain range is exquisite. The terrain is expansive and beautifully captured by the director of photography, Adolfo Bartoli. This exists in a world that extends well beyond the frames, giving the movie an appropriately epic scope. Plus, the production and art design is spectacular for the numerous set pieces, including a skull cave entrance and a terrarium of sorts. The soundtrack is exceptional. In fact, this could be Richard Band’s finest score for anything to date. Finally, most refreshingly, there’s no romantic subplot between either Kathleen and Matt or Claire and Rondo. A few moments hint at attraction, but nothing more. While this does leave the characters two-dimensional, it also helps the movie stand apart from others of its ilk.
However, all of those good elements take a backseat to the true star, the point of the picture: David Allen and Chris Endicott’s (and a slew of others) stop-motion creature effects. Little time is wasted in showing off, as the yeti is seen in all its glory five minutes in. Admittedly, the ensuing setup and expedition to the mysterious land of the reptilians is free from the impressive mayhem. But once the sun-scorched territory is established, very few scenes take place without something visually masterful taking place. All the reptilians look distinct and move believably. The level of detail in even the tiniest of movements can be seen during a gladiatorial combat sequence, which proves to be the climax, both story-wise and artistically speaking. The crowning achievement of Allen’s special effects is the yeti. The design allows an impressive emotional range, with expressive facial movements and telling body language. In the combat arena, the yeti goes from playful curiosity to murderous rage in one shot. It is the best acting in the entire 91-minute runtime.
“…shows that a master of his craft was taken far too soon.”
If circumstances had been different, and this was released in, say, 1995, there’s little doubt that the visual effects team would have garnered several awards because of how truly amazing the effects are. David Allen deserves to be mentioned in the same breath as Willis O’Brien and Ray Harryhausen for his exquisite craftsmanship here (arguably, his outstanding work on Puppet Master, The Howling, and Young Sherlock Holmes should have already cemented this). And that is why the best part of this adventure picture happens during the opening credits after the prologue. The directing credit simply states, “Directed by David Allen.” No one else is named, despite how long the artist has been dead. There’s no better way to understand what Allen meant to so many in cinema than the simple fact that he is the sole credited director.
The Primevals is one of the most ambitious and engaging Full Moon films. It is undoubtedly the best-looking feature Band and company has ever produced. While the cast is a mixed bag, and some story elements don’t totally work (especially nowadays), what is on display shows that a master of his craft was taken far too soon. The cinematography and set designs entice the viewer into an admittedly standard adventure plot. While the characters might not have much range, the creature designs and special effects are damn near perfect. This adventure is a rousing success.
"…one of the most ambitious and engaging Full Moon films."
