In “Primetime,” documentary filmmaker Lance Oppenheim presents a fictional account centered around Chris Hansen (played by Robert Pattinson), the controversial host of “To Catch a Predator.” The film opens with Hansen rehearsing his iconic lines, reflecting his obsessive nature as he juggles his personal discontent and a struggling marriage while leading a team to catch alleged predators. Hansen’s ambition drives him to seek more sensational stories, aided by a quirky crew that includes an eager rookie, Dan Plum (Skyler Gisondo).
Visually, the film resembles a degraded VHS tape, with close-up shots of Pattinson and vibrant neon lighting, creating an unsettling atmosphere. However, despite its engaging style, “Primetime” lacks depth; it glosses over the serious issues of child abuse, treating them merely as plot devices. Characters, including Hansen and his disgruntled producer Andie Bender (Merritt Wever), appear superficial, driven more by ambition than concern for victims.
The film critiques the entertainment industry’s exploitation of real-life tragedies, echoing Hansen’s chilling comparison of his show to a historical form of public punishment. While it captures the absurdity and moral ambiguity surrounding Hansen’s pursuits, it ultimately leaves viewers questioning the true stakes of success in such a grotesque landscape. While “Primetime” is compelling, its slickness undermines a deeper exploration of its themes, making it a glib commentary on superficiality rather than a profound reflection on its serious subject matter.
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