If there’s one thing I wasn’t ready for, it was how often Primetime had me laughing. With subject matter this intense – and, frankly, sleazy – I didn’t expect so much humor to sneak in, let alone make me squirm in my seat.
Actually, scratch that: it wasn’t just the surprise of laughing that threw me. The film’s tone, the striking visuals, and the sheer number of times the camera lingers on Robert Pattinson’s face all combined to create an experience I never saw coming – and one I’m still not sure I actually enjoyed.
If you ever caught To Catch a Predator when it originally aired or watched the fantastic Predators documentary, you already know the Primetime basics. But Primetime takes a wholly different, at times even bizarre, approach to the behind-the-scenes world of the Dateline NBC show hosted by Chris Hansen. (By the way, Hansen is not thrilled about this film. But he apparently thinks Robert Pattinson’s imitation is pretty good, though overly dramatic.)
According to Primetime’s take on To Catch a Predator’s origins, NBC boss Jeff Zucker (playing himself) wasn’t a personal fan of the show, but he knew his audience was eating it up. And, of course, it was far cheaper to crank out than most primetime series. Primetime’s version portrays Chris Hansen as a man obsessed with fame, whose overblown ego left little room for a conscience. Hansen had to be at the center of the story, even if that story involved suspected pedophiles lurking in the deeply disgusting basements of internet porn.
And for two seasons, viewers tuned in to see Hansen help take down sexual predators. Hansen would order the adult men caught in To Catch a Predator’s trap to “take a seat” and then drill them about why they were there, going as far as to quote from their disgusting exchanges with decoys masquerading as minors. Hansen was on the road to accomplishing his dream of being a network star when the series went too far and crossed way too many ethical lines. NBC cancelled it after 20 episodes.
Primetime takes a go-big-or-go-home approach to storytelling. There’s no gray area and barely an acknowledgement that what Hansen and the series were doing actually resulted in exposing pedophiles. (Many of the men caught weren’t prosecuted; entrapment and other legal issues were raised.)
Pattinson’s Hansen is totally unhinged, yet strangely charismatic. Whatever your reaction to the film, Pattinson is completely mesmerizing and otherworldly, even. There’s something almost alien in his mannerisms, and the way he plays Hansen as completely unaware of the feelings of others is disturbing. Although he claims to be doing this to get evil men off the streets, there’s just something lurking behind Pattinson’s eyes that indicates this version of Hansen doesn’t really believe that.
Because director Lance Oppenheim loads Primetime with closeups, Pattinson’s able to convey so much more than normal framing would allow. And yes, while the interesting shooting style occasionally intrudes on the story, those extended closeups turn out to be a smart choice.
Pattinson’s Hansen is the central character around whom everyone revolves, but the supporting cast makes a strong case for year-end ensemble awards. Skyler Gisondo (soon to be seen in The People v. Gorilla Grodd) is alternately heartbreaking and hilarious as Dan Plumb, one of two decoys who greet the suspected predators as they arrive for their in-person meetups. Gisondo’s boyish looks really do let him pass as 13-ish, and he does an outstanding job showing just how conflicted Dan is about being used as bait. He’s only doing the job for an acting credit, but Gisondo makes it painfully clear how working this job is scarring Dan emotionally.
Merritt Wever has never delivered a bad performance, and that streak continues with her role as Andie, one of the show’s producers. Andie is equally committed to making To Catch a Predator work, though her approach is far more diplomatic and restrained. She’s also Hansen’s full-time babysitter, and Wever conveys just how much she loathes that part of her job.
A big drawback … both Wever’s Andie and Pattinson’s Hansen have minor storylines away from To Catch a Predator that add nothing to the film and actually distract from the narrative. These secondary arcs feel out of place and unnecessarily wedged into the screenplay.
Primetime is a confounding piece of work, and as I mentioned at the start of this review, I’m still not sure how I feel about it. The performances are absolutely riveting – there’s no question this is some of Pattinson’s finest work, and given his recent run of theatrical releases, that’s saying a lot. Strangely, if the film weren’t based on a real series, Primetime might have been an easier movie to appreciate. Knowing that there’s a dose of reality behind some of the scenes, and then finding yourself laughing in genuinely uneasy moments, is a tricky path to walk. Of course, the film’s lighter touches do help take the edge off the overall ick factor – if that makes sense.
Primetime left me genuinely conflicted. I’m impressed by the performances, unsettled by the experience, and not entirely sure I’d recommend it. Love it or hate it, it’s a film that lingers.
GRADE: B- (The performances are a strong A.)
Rating: R for some violent content, disturbing sexual material, language, and graphic nudity
Runtime: 1 hour 50 minutes
Release Date: September 25, 2026
Studio: A24
This post was last modified on September 23, 2026 12:16 pm