“Primetime” follows “To Catch a Predator” host Chris Hansen as he sets out to make television history.
Many online have questioned the foundation of “Primetime” with a simple question: how can you make the man catching predators the “bad guy”? The answer to that is actually quite simple; watch the movie. In reality, director Lance Oppenheim doesn’t tell a story about a “bad guy.” He crafts a narrative about a man who will stop at nothing to achieve his goal, which is “primetime.”
Rather than focusing solely on Chris Hansen, Ajon Singh’s screenplay (based on an article by Luke Dittrich) splits attention between several characters. At the center of it all are three individuals: Hansen, Dan Plumb (aka Decoy Dan) and Andie Bender. While these three characters are at different stages of their lives, the desire for more is equally present. What comes from this hunger, however, are very different outcomes.
Sensationalism is at the heart of “Primetime.” Similar to Jordan Peele’s “Nope,” it examines people’s need to turn tragedy — or in this instance crime — into spectacle. Throughout the film, it’s clear that Hansen, Plumb and Bender are doing “good” by catching pedophiles, but the “why?” behind their actions is much murkier. Just because Hansen made a career out of catching predators doesn’t innately make him good. Oppenheim seamlessly navigates this threshold to capture the different sides of Hansen. Many may tell you that the movie delivers strict “Hansen bad” messaging, but that’s not the case. It’s a layered story about greed and how that ripples into complicated ethics that move beyond simply right and wrong.
“Son, your definition of bad and my definition of bad are vastly different.”
At the same time, it doesn’t say enough. Blending real-life and fictional aspects of Hansen’s life, the narrative remains inconsistent in who it wants the character to be. Part of this is by design, but there’s also a lack of commitment. The pacing also falters as additional “monster” backstory is presented. While this adds to the stylized nature of the movie, it takes away from the realism.
The film is presented in a “boxy” aspect ratio with a grainy texture that takes you back in time. Director of photography David Bolen incorporates a variety of styles throughout the 110-minute runtime, most notably extreme close-ups. At times, characters’ faces fill up the entire frame, which makes every encounter or decision feel personal. Reflections and foreground framing bring additional depth to the visuals, even when they’re so in-your-face. Color is the final factor in making “Primetime” unique. It has a high-contrast look with different shades constantly being injected into environments.
The shooting style combined with Ari Balouzian’s score almost turns “Primetime” into a horror movie at times. As the camera eerily creeps closer to Robert Pattinson’s (Chris Hansen) face and the musical compositions roar in, there’s an unsettling sense of dread that is earned. The tonal shifts between drama, thriller and horror match the complex nature of Hansen himself.
Pattinson continues his streak of impressive performances in 2026, starring in “The Drama,” “The Odyssey” and now “Primetime,” with “Dune: Part Three” still to come. Of course, he nails Hansen’s in-show portrayal with the iconic, “You see how this looks, right?” line. He also brings depth to the character that doesn’t always come through words. From the line delivery to the mannerisms, Pattinson fully transforms into an alternate-reality version of Hansen. It doesn’t feel entirely akin to the real-life persona, but it’s a creative interpretation of it. That’s why it’s his best performance of the year so far.
Skyler Gisondo (Dan) and Merritt Wever (Andie) also have major roles. Arguably, Gisondo serves near-equal importance to Pattinson in the film. He conveys naivety well, turning from ecstatic to uncomfortable in a moment’s notice. Wever often remains more gentle-voiced, delivering articulated lines — and chewing a lot of gum. In terms of exploring exploitation and hypocrisy, these two actors serve fundamental roles in bringing those topics to the screen.
“Primetime” explores the difference between doing good and being good. Humans are fundamentally intricate, and Chris Hansen is no different.
Rating: 4 out of 5
