Robert Pattinson delivers one of his finest performances in the film “Primetime,” showcasing his talent in a role that dramatically contrasts with the heroic characters he is often cast as.
In this latest project, Pattinson takes on the persona of Chris Hansen, the controversial NBC reporter known for his work on “To Catch a Predator.” His portrayal is marked by an exaggerated, almost theatrical quality that reflects Hansen’s superficiality and moral ambiguity. This interpretation transforms the film into a poignant exploration of a man devoid of substance, resonating deeply with those in the journalism profession who often critique the shallow nature of television reporting. The authenticity of Pattinson’s performance is further underscored by the real Hansen’s visible outrage regarding the film, indicating its impact.
The narrative unfolds in the autumn of 2006, when Hansen’s “To Catch a Predator” is gaining traction. Its success prompts NBC programming chief Jeff Zucker, who appears as himself, to schedule the show against the highly popular “Lost.” Simultaneously, young actor Dan Plumb, played by Skyler Gisondo, catches the show’s attention due to his youthful appearance, leading producers to enlist him to pose as a 13-year-old to lure predators into traps for Hansen’s confrontations. The film opens with a shocking scene where Dan finds himself alone with a man who has exposed himself, setting the tone for the unsettling events to come.
Director Lance Oppenheim intentionally adopts a gritty aesthetic reminiscent of mid-2000s television, employing analog cameras to capture the raw essence of the era. The film highlights the performative nature of Hansen’s show, with Dan modifying his appearance and voice to convincingly portray a minor. Oppenheim cleverly illustrates the absurdity of the situation, with moments like a sound technician’s frustration at Hansen’s endless retakes of his narration, underscoring the chaotic behind-the-scenes atmosphere.
A pivotal moment arrives when another decoy, portrayed by Grammy-winning artist Phoebe Bridgers, warns Dan about the potential consequences of treating this dangerous assignment like just another acting gig. The film also features a comical yet disturbing scene where the local police welcome Hansen’s crew with an exaggerated display, revealing how the desire for media exposure can distort their moral compass.
Drawing from Luke Dittrich’s Esquire article, “Tonight on Dateline This Man Will Die,” the film reimagines Hansen’s story while altering some names for dramatic effect. It parallels last year’s documentary “Predators,” which offered insights into Hansen’s complicated legacy. One notable addition in “Primetime” is Hansen’s obsession with capturing a high-profile predator to boost his ratings and divert attention from his personal scandals, a narrative thread that leaves out current high-profile cases like Jeffrey Epstein.
While the film occasionally falls into predictable territory with characters trying to reconcile their pasts mid-crisis, it also features a powerful encounter between Hansen and a rabbi caught in a sting operation. Unlike other predators, the rabbi confronts Hansen with anger, exposing the journalist’s cowardice and moral failings. Such moments highlight the ethical dilemmas faced by those involved in these operations, including the consequences of sensationalizing serious issues.
The film culminates in a tragic scene involving the suicide of Collin County Assistant District Attorney Bill Conradt, which illustrates the dark interplay between journalism and law enforcement. As Dan, who shares a love for Broadway with Conradt, sings “Seasons of Love” during the climactic confrontation, the film critiques the sensationalism of sting operations, suggesting that such practices serve more to elevate individuals like Hansen rather than to protect vulnerable children.
“Primetime” ultimately serves as a character study of a journalist whose ambition blinds him to the real harm caused by his actions. Pattinson’s portrayal of Hansen reveals a deeply flawed individual, driven by vanity and ratings rather than genuine concern for victims. This complex performance positions Pattinson as a captivating figure—one that is arguably more unsettling than the predators he seeks to expose.
Directed by Lance Oppenheim and written by Ajon Singh, “Primetime” features a cast that includes Robert Pattinson and Skyler Gisondo. The film is rated R.
