Primetime, 2026.
Directed by Lance Oppenheim.
Starring Robert Pattinson, Merritt Wever, Skyler Gisondo, Phoebe Bridgers, Matthew Maher, Bokeem Woodbine, Michael Chachere, Alex Winter, Tony Revolori, Bob Ari, Jonathan Lipnicki, Anna Faris, Franco Brocato, Luca Brocato, Jeff Zucker, Sean Bridgers, Jessica Hecht, Eric Rahill, Bill Heck, Jessica Blackmore, Creed Bratton, Caroline Hebert, Adam Bhala Lough, and Trey Burvant.
SYNOPSIS:
In 2006, To Catch a Predator host Chris Hansen sets out to make television history, turning an undercover investigation into one of the most controversial cultural phenomena of the decade.
There isn’t a single character in director Lance Oppenheim’s Primetime (written by Ajon Singh and based on Chris Hansen, the mega-successful How to Catch a Predator reality TV show, and a magazine article by Luke Dittrich) who expresses sincere pain for victims of child sexual assault. The eccentric show host Chris Hansen (Robert Pattinson) has perhaps burrowed too deep into a dark underbelly of society and lost sight of any real noble motive, yet serves as an undeniably entertaining face of the show, stepping into frame and catching pedophiles off guard probing what they are doing here meeting teenagers. In the 2000s, that show caught fire, leaving the network with only one question: what could be bigger than Lost? (another white-hot show, albeit this one an episodic series that spanned too many seasons for its own good, although that’s another conversation entirely).
One of many early signs here that Chris Hansen has lost the plot comes, of all things, when a vending machine steals his money without properly dispensing the item he purchased. That’s not to say frustration isn’t natural or normal, but when his first instinct is to make an angry call to the company while touting the clout of his fame from catching child predators, that’s more a sign of a cultural craze and popularity going to his head. That’s without getting into an unsettling yet also underexplored home life (married, played by Anna Faris in a disappointingly empty role) where he turns on an episode of this particular show for his two young boys to… quietly gloat about the stardom of their dad with zero self-awareness of how what they are consuming might affect their minds?
In fairness, some context also comes in some truly unexpected corners of the world, demonstrating where Chris Hansen’s unhealthy obsession might have stemmed from (to be crystal clear, that is not to say that catching pedophiles is bad, but that mass exploitation where no one is actually going to jail, solely done for ratings, is warping the perspective and motive). This is also where Lance Oppenheim includes some, let’s just say, visually interesting choices that lend an artistic side to the film in demonstrating how Chris Hansen sees the world, or how part of his early journalistic days might have caused something to snap inside his mind.
Of course, Robert Pattinson is tremendous in the role, portraying Chris Hansen as both the benevolent and endearing TV host, and someone almost zombie-like lost in a world of would-be-pedophiles and reciting graphic chat room sexting exchanges from his undercover inner circle baiting them (with several close-up shots of computer screens, the photography also captures not only the graininess but a man – and even a world – enveloped in the never-ending depths of Internet depravity) as an equally mentally troubling preparation ritual, all with a dash of the TV host’s meme-ability, which only makes sense for one of Hollywood’s most meme-able actors (one has to wonder if the filmmakers shoved a couple more shots of the already viral “you see how this looks, right” bit into the movie, as if that’s his version of “take a seat right there?”)
That aspect is a double-edged sword in that at times, Primetime feels like the exploitation it’s trying to criticize (and otherwise succeeds at doing so), but in a different medium. While uncomfortably amusing, those re-creations of fan-favorite episodes (typing something like that out alone clearly lays out the show’s ethical issues) are the weakest aspect here. They work best from the perspective of other characters and less when seeming to re-create memes and laughs. Still, there is no denying the technical prowess behind them, with shaky handheld camera footage and multiple recording channels from the production booth, sometimes shown together (a challenge met by cinematographer David Bolen).
Thankfully, and as mentioned, Primetime and Chris Hansen are surrounded by co-workers also caught up in this show for morally questionable reasons. There is his producer, Andie Bender (Merritt Wever), who might be more misguided and laser-focused on the ratings war than he is, also tasked with holding production together while he is being blackmailed over an affair, a dynamic that flips the script on having our flaws and misdeeds aired out to the world (to be crystal clear again, yes, there is a massive gulf in awfulness between coming within inches of acting on sexual desires with a minor and infidelity, although that doesn’t dilute the point being made). And while the Nightcrawler (an even better, more pointed and disturbing film about going to extreme, soul-draining, sociopathic lengths for ratings) comparisons are most likely underway, those are more fittingly attributed to Andie, whereas Chris wants to beat Lost, but also seems to have begun his crusade with purer intentions long ago.
Meanwhile, up-and-coming decoy (an adult masquerading as a teenager to entrap those looking to act on pedophilic urges) Dan (Skyler Gisondo) wants nothing more than to be a legitimate, respected actor. With only a couple of commercials featuring singing to his name, his audition tape is selected for the reality show. He has no idea what he is getting into. During his first sting, he is caught off guard by Chris Hansen bursting into the scene as much as the adult soliciting sex from who he believes to be a minor, which is one of many areas of debate coming into play about who is a predator and who is prey. Understandably, Dan is overwhelmed and unsure what he is caught up in, but he is reassured, arguably groomed to continue the crusade, and sees the adoration Chris Hansen gets, although he soon begins to lose his way too, albeit for different reasons. There are also times one can’t help but wish the entire film was told from his perspective, which also might have helped eliminate the occasional indulgence in episodic recreations that should absolutely be interrogated for possibly being guilty of the same sins; he’s also simply an equally fascinating person, with the merits of acting as a profession in this case up for debate.
This is all building to a necessary big sting for those hopeful big ratings, with Xavier Von Erck (Matthew Maher), a chat room catfisher (and someone who seems to enjoy the thrill of the chase more than potentially doing any good luring a would-be pedophile) convincing the crew to act on a long-brewing candidate believed to be high up in the world, possibly in the realm of politics (all that will be said for those who haven’t seen the episode or the controversy that came of it is that the person is played by Alex Winter). As a bonus, there is also a brilliantly funny scene involving a pedo-hunting police officer and a Subway sandwich shop.
It’s a sting operation that also shifts the film’s entire visual language from sunny Florida to nighttime Texas, clearly showing that none of this is consequence-free or “fun” anymore and that each of these characters has entered the deepest pit of darkness; a point of no return in their future actions. What ensues is downright harrowing and shocking, even if you’re familiar with the story from real life, the show, or last year’s still-superior documentary Predators (a documentary from a child sexual assault survivor, which you should absolutely stream on Paramount+ whether you like this movie or not, but are interested in the complex subject matter). Not to compare them, but due to the nature of being a documentary, that film is allowed to dig deeper into the bad reputation and tarnished history of the show, how Chris Hansen inspired thousands and thousands of copycats who also don’t seem to actually care about child sexual assault victims but rather misguided vigilantism and exploitation for YouTube clicks, and stories from real survivors.
Primetime certainly boils over and reaches an explosive climax steeped in the aforementioned darkness, exploring most characters and side threads along the way, yet also leaving just as much to further explore. It all leads to the moment their fate and true reputations are sealed, an event depicted with intensity at the height of exploitative frenzy, this time a sharp indictment rather than a re-creation.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
