An intense psychological thriller and dark comedy, “Primetime” tells the story of Chris Hansen’s popular 2000s reality television show.
On paper, the film offers a disturbing look behind the curtain of “To Catch a Predator,” a segment that aired on NBC News’ “Dateline” from 2004-2007. Hosted by Hansen, the show organized and filmed sting operations to catch adults that inappropriately messaged people who they believed to be children online. The show’s producers worked to identify these predators, resulting in 12 televised operations where adult decoys lured them to a house; Hansen then confronted them and the police, waiting outside, took them into custody.
Released on Sept. 25, “Primetime” explores the ethicality of the popular show, portraying Hansen (Robert Pattinson) as borderline manic as he chases success. Pattinson’s riveting performance is unquestionably the highlight of the film, capturing audiences’ attention with his intense, unhinged interpretation of Hansen’s character.
Merritt Wever, who played Dateline NBC’s producer Andie Bender, gave another standout performance. Her depiction of Bender’s ambition was chilling and felt unnervingly real. Other notable actors include Skyler Gisondo and Phoebe Bridgers, who played the show’s two adult decoys.
Gisondo’s character, Dan Plumb, served as the heart of the story, demonstrating the hypocrisy of “To Catch a Predator.” “Decoy Dan,” as Plumb was referred to, had innocent dreams of making it as an actor, but was exploited just as horrifically as the victims the show claimed to be protecting. One of the most unforgettable moments of the film is when Plumb shifts seamlessly from his child persona to an unsettling mirror image of Hansen.
Bridgers, who is known by most as an indie folk/rock singer, made a strong acting debut in her role. Her song “On Video” is also featured during the movie’s end credits.
Stunning visuals only enhance the actors’ performances. A24’s signature stylized approach is easily recognizable, and Director Lance Oppenheim’s use of camera-within-a-camera filming makes the movie feel like a 2000s fever dream. Consistent graininess, security camera lighting and harsh angles add a layer of unease to every scene, leaving the audience to sit in the discomfort of what they’re witnessing.
Although the heavy stylization makes the film an electrifying watch, it also produces its main flaw. For a movie that aims to expose the moral wrongness of serving justice through sensationalized television, “Primetime” seems to be guilty of the exact same thing. The artistic approach cuts into the narrative, seemingly focusing on presenting an aesthetic image rather than an impactful lesson.
Though Hansen’s character is fascinating to watch, his descent into madness goes relatively unexplored; he begins in insanity and festers there for the rest of the film. A number of dramatizations regarding his life also reduce the movie’s accuracy and weaken its message.
However, the moral is still there for those who are not too entranced by the visuals to see it. In fact, it is often the overly-stylized moments that make the gritty, almost claustrophobic atmosphere feel most tangible. Even when the narrative may fail to convey a comprehensive meaning, these unsettling moments drive the lesson home and serve as the standout feature of the film.