When the spotlight is upon you, Primetime only reveals more darkness.
Set in 2006, Primetime follows the exploits of Chris Hansen (Robert Pattinson), NBC reporter and host of the popular series, To Catch a Predator. With an eye towards bringing child predators to justice, Hansen and his team worked tirelessly to make a difference while also creating great television in the process. However, as Hansen’s passion becomes an obsession, he begins to cross lines that could destroy his entire world in the process.
In Primetime, director Lance Oppenheim uncorks a wild ride into the horrors of humanity with furious energy and limited hope. Led by an almost unhinged performance by Pattinson, this is a story that’s not meant to make you feel good about the world. Instead, it’s meant to leave you with a sense of dread and despair, marking the most hideous parts of the human experience as pervasive and insurmountable.
But Oppenheim remains committed to bringing the viewer into the abyss. Built upon the Esquire article, ‘Tonight on Dateline, this Man will Die’, Oppenheim wants the film to feel both real and surreal at the same time. Everything here is heightened to its extreme and yet also feels horrifyingly honest. (It’s worth noting that Oppenheim even cast former programming head of NBCUniversal, Jeff Zucker, to play himself in the film as well to give it an added sense of authenticity.)
Interestingly, one could argue that the film’s narrative echoes the passion for justice that embeds 2015’s Oscar-winning film, Spotlight. Both stories highlight a journalist obsessed with the truth while they uncover unspeakable rings of child abuse. What’s more, both films feature arguably career-best performances by their cast as they seem entirely invested in the project.
But, to be clear, Primetime has no interest in being Spotlight.
While Spotlight’s journalists work with a badge of honour, Primetime doesn’t shy away from the shadows. There’s an ethical ambiguity about this film that cries for justice but doesn’t mind blurring the lines of right and wrong. As a result, this inquest into the murkiest corners of the human soul doesn’t let the light in very often. In fact, Hansen’s quest almost feels like he’s attempting to kill the darkness by adding… more darkness.
In this way, somewhat ironically, Primetime’s world almost feels like what Gotham City-world would be like without its Batman. Without any form of justice, it quickly becomes a world where the Joker decides the law.
And Pattinson definitely walks a line similar to that of Heath Ledger’s iconic performance as the Clown Prince of Crime. With moments that waver between cruel and campy, the actor immerses himself into the role of Hansen with few limitations. (In fact, just like Ledger, one almost wonders how Pattinson managed to separate himself from his character at the end of the day.)
To be clear, it’s not that Pattinson’s depiction of Chris Hansen is particularly evil. But, he’s certainly no hero. Yes, he recognizes the power and value of his actions yet his motivations aren’t entirely virtuous either. Spending his days tracking the worst of the worst, Hansen is shown here to be a man obsessed with climbing the mountain of fame. Every snatch and catch is tainted by Hansen’s inescapable fixation with his own accomplishments. He’s shown here as a man driven to succeed regardless of who gets hurt in the process. And, plunged into the worst parts of humanity, Hansen loses part of himself in the midst of the hunt.
His mission steals a piece of his soul.
But that also isn’t meant to suggest that the film has lost its heart. As Hansen slides closer to the edge, Merritt Wever’s Andie keeps him (and, by extension, the film itself) grounded. In many moments, Wever’s performance as Hansen’s producer actually outshines Pattinson’s erratic host, providing Showtime with its conscience. At all times, Wever feels present and focused, serving as the only person who seems to be able to bring Hansen back from the brink.
And that’s essential. After all, that ‘walk towards the edge’ undergirds every moment of Primetime. Despite capturing the most dangerous of predators, Oppenheim’s film exposes the reality that everyone has a dark side. Without comparing its characters’ sins, Primetime merely points out that the evils of the world can claim just about anyone. While the nature of that evil may differ, this is the sort of film that makes everyone culpable in one way or another.
Here, everyone is fumbling around in the dark. But just how far they’re willing to fall is another question entirely.
Primetime is available in theatres on Friday, September 25th, 2026.
