Primetime or Showtime? A Review of Robert Pattinson's New Thriller
I’m Lily Saal with The Georgetown Independent, and we’re doing a story on Primetime (2026), an A24 thriller directed by Lance Oppenheim. You see how this looks, right?
Primetime chronicles the rise and fall of the popular 2000s show, To Catch a Predator, which utilized hidden cameras and false decoys to entrap child predators, exposing their crimes to millions of viewers on national television. In 2007, Esquire’s article “Tonight on Dateline This Man Will Die,” which the film is based on, revealed the show’s inner workings and veiled insidiousness.
The film centers around To Catch a Predator host Chris Hansen, excellently portrayed by Robert Pattinson. Throughout the film, Pattinson deliberately recites the now-infamous line, “I’m Chris Hansen with Dateline NBC,” in the same rehearsed tone he always speaks in, even when answering calls from his wife. The film portrays Hansen’s longing to be taken seriously as a reporter for NBC; he truly sees his work as journalism, saying, “Nothing I do is acting.”
Primetime critiques the character of Hansen, a man praised for doing the right thing, but for all the wrong reasons. In its totality, the film examines the sometimes perverted ethics of human motivation. This is seen through Hansen’s dream to be considered a real reporter, the crew’s desire for television success, and even the actors’ drive for fame and respect. Each character chases these goals rather than any noble pursuit, their motivations hidden beneath the guise of clearing the streets of predators.
For the big screen, it works. The film ebbs and flows, with suspenseful, heroic music that matches the film’s frantic energy. The narrative arc unravels at breakneck speed; we watch each character experience heart-pounding moral crises and all-consuming anxiety.
David Bolen, the film’s cinematographer, used 12 different cameras, including a colonoscopy endoscope, to capture the perspectives of each character in a vibrant color scheme. “We want the camera to feel immersive,” said Bolen in a recent interview with The Credits. “That’s why we often shot with a single Alexa, trying to get physically close to the actor. When the camera is a couple of inches away from an actor’s face, it does something to the intensity of the performance. There’s an intimacy you don’t get when you’re shooting with multiple cameras.” Primetime’s countless close-up shots highlight some of the brilliant performances besides the leading man, giving countless supporting cast members a chance to show their acting laurels.
Rather than simply being a Chris Hansen biopic, Primetime takes an unexpected route, focusing instead on the larger environment surrounding the show. Undoubtedly, Pattinson leads the movie; the emotion and anxiety of his character course through his portrayal. However, his supporting cast made the lights feel even brighter.
Merritt Wever, who plays Andie, the producer of To Catch a Predator, puts on a striking performance. As she snaps her bubblegum between snappy line deliveries, she draws attention to the discrepancy in recognition between a TV star and the production team behind them. She is often found working tirelessly to plan the entire show, only for Hansen’s personal issues to cause her work to be overlooked. Still, the film refrains from shedding much sympathy for Andie. Her motivation is evident: she is thrilled that “We’re going to be the #1 show on TV,” but carries no remorse for what she’ll have to do to get there.
Additionally, Skyler Gisondo and Phoebe Bridgers (yes, that Phoebe Bridgers) play “decoys,” disguising themselves as children to lure the predators by talking on the phone, recording videos, and acting as happy-go-lucky kids. Bridgers performed well; however, her acting had some flaws: she seemed uncomfortable on the screen, letting herself be overshadowed by the crowd of excellent actors surrounding her. The bar for her performance, however, was set extremely high by the extremely talented cast around her, especially Gisondo, whose character (“Decoy Dan”) eats up a large portion of screen time. The film shows his audition, training, and turmoil when he finally receives the role. While Pattinson and Weaver were extraordinary, that’s nothing new. Gisondo’s role felt like a star-is-born moment—he stole the show with his expressions, tone, and palpable emotion in his eyes. Gisondo’s character needs an acting credit to gain representation, which pushes him to ignore some harsh experiences on set. Hansen tells him: “Superhero, that’s your credit—what you’re doing is much more than acting … you’re saving lives.” The two strike up an uncomfortable relationship of sorts, with Hansen and Andie grooming him into the perfect decoy.
Even more explicitly, the film depicts Hansen’s extramarital affairs and his breakdown when he realizes the news may break. He is not portrayed as a good guy, but rather as rough, callous, and egotistical. However, Primetime does not miss out on the opportunity to make an important point: Hansen is still human, as were all the people he caught. The film garners an immense amount of pity for those caught on camera; one man even falls to his knees in front of Hansen. The film does not portray the predators as the victims; rather points out the complexity of the situation, and questions the morals of the show.
Primetime is more than a story. It is a moment in American history that hasn’t quite hit the dusty textbooks yet. Set in 2006, the film reveals the nature of America in the post-9/11 era, ruthlessly seeking justice in any way it could. The predators became the bait for the millions of viewers, chomping at the bits to tear someone, something apart. While the film’s characters are undeniably morally grey, Primetime poses a challenging question: aren’t we? After all, we would never have heard of Hansen had his show about child predators not entertained our country,
Rating: IND/INDY
Lily Saal is a sophomore in the College of Arts & Sciences studying Economics and Philosophy. She is a member of the Field Hockey team and loves all things music, movies, and M&Ms.
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