In an era where true crime dominates our screens, Primetime takes a scalpel to the genre's most infamous artifact: To Catch a Predator. Directed by Lance Oppenheim, this darkly comedic thriller explores the show's rise and fall through the eyes of its enigmatic host, Chris Hansen, played with unhinged brilliance by Robert Pattinson. The result is a film that's as uncomfortable as it is captivating, a fever dream that lingers long after the credits roll.
Oppenheim, known for his documentary work, brings a documentarian's eye to his first narrative feature. He captures the grimy, fluorescent-lit world of sting operations with unsettling authenticity, while also delving into the psychological toll on everyone involved. The film's thesis is encapsulated in a chilling line delivered by Pattinson: "There used to be a pillory in every town. Now there's a television in every home." It's a commentary on vigilante justice and the commodification of outrage, themes that resonate just as strongly today.
At the heart of Primetime is the story of Dan Plumb (Skyler Gisondo), a young actor who auditions to become a decoy for the show. His earnestness and boyish charm make him a perfect fit, but the lack of support and the moral ambiguity of the job soon take their toll. Gisondo delivers a nuanced performance, serving as the audience's moral compass in a world where everyone else seems to have lost theirs. His vulnerability is a stark contrast to Pattinson's larger-than-life Hansen, creating a dynamic that drives the film.
Pattinson, who has been on a hot streak with roles in The Drama and The Odyssey, outdoes himself here. He fully inhabits Hansen, a man who genuinely believes he's a hero, even as his methods become increasingly questionable. Pattinson's performance is both meme-worthy and deeply unsettling, a tightrope walk that could easily have fallen into parody but instead reveals the pathetic core of a man addicted to fame. It's a career-defining turn that cements his status as one of the most daring actors of his generation.
The supporting cast is equally impressive. Phoebe Bridgers, in her acting debut, plays a fellow decoy with a quiet intensity that suggests a promising future in film. Merritt Wever is chilling as producer Andie Bender, whose maternal facade masks a ruthless pragmatism. Anna Faris, as Hansen's neglected wife, adds a layer of tragedy to his personal life, even if this subplot is the film's weakest link.
Visually, Primetime is a feast for the eyes. Oppenheim and editor Daniel Garber use a variety of cameras and styles—from grainy security footage to surreal, dreamlike sequences—to create a collage that mirrors the show's chaotic energy. The film's third act drags slightly, but it ultimately sticks the landing, leaving viewers with a haunting image of a man who has become the very monster he hunted.
For fans of Pattinson's recent work, this is a must-see. It's a bold, uncompromising look at the dark side of entertainment, and it's easily one of the best films of the year. If you're curious about the making of this chaotic masterpiece, check out our interview with Pattinson and Gisondo on the chaotic craft behind the film. And for more on Pattinson's fearless choices, read about how he's redefining the modern movie star.
