Primetime Review
If you’re not familiar with Chris Hansen, you’ve likely at least heard his name. The longtime TV personality has become a recognizable figure in pop culture. For the last few months, the man behind NBC’s To Catch a Predator has dominated the online space ever since Primetime was first announced. However, it was only when A24 released the first trailer that everyone truly latched onto this. The stark, grainy looks and the unhinged feeling from Lance Oppenheim‘s inspired thriller definitely pulled me in the most. That said, I was somewhat unprepared for the intensity shared between Robert Pattinson‘s Hansen and his cronies mixed in his narcissistic crusade.
Oppenheim’s Primetime isn’t necessarily an origin story about Hansen, but a recounting of the event that changed him. Hansen and his producer, Andie Bender (Merritt Wever), are given the chance to compete with television’s most prominent programs at the time. Although their operations don’t go without a hitch or two, they find some hope with Dan Plumb (Skyler Gisondo), an aspiring actor who finds himself in over his head. What Oppenheim’s film does is explore the depths that all of these figures will go to in order to find success.
At the start, it may seem like they do as it opens with a man (Tony Revolori) finding himself in Hansen’s crosshairs. Before things even kick off, Pattinson really captures this innate intensity hidden underneath Hansen’s stoicness when he’s whispering to himself. Through this, we’re meant to understand that Pattinson’s Hansen is encumbered by his desire for respect, which his rivals, like Stone Phillips, don’t have for him. Hansen wants to play with the big boys at NBC, which he believes he’s proven with his Emmy-winning story of Indian slave child labor, but it’s a long way ahead.
It isn’t until Dan Plumb, a somewhat naive actor that Hansen believes he can mold, first meets Hansen. Outside of Pattinson, Gisondo confidently shines in this side role as Hansen strategically “guides” Plumb. Plumb almost crumbles in a similar way to Hansen, but does have some grounding thanks to Del (Phoebe Bridgers), another decoy who knows Hansen’s game. She tries to find Plumb’s sincerity underneath everything, but when he’s too far in, she can’t seem to pull him out of Hansen’s grasp.
This slightly “father-son” connection perfectly contrasts with Hansen’s actual relationship with his two sons. Hansen’s family complications with his wife Mary Joan Hansen (Anna Faris) really helps establish that basis to have that manipulative mentorship between Hansen and Plumb form. Pattinson and Gisondo’s chemistry in those moments also creates that sense of dread, especially when Hansen helps Plumb envision what he saw in India. It’s a truly unsettling sight, only emphasized by Ari Balouzian’s tingly and dramatic musical tracks.
The way that Oppenheim utilizes Ajon Singh’s script to explore the effects of Hansen’s divine mission results in gripping storylines. For one, Wever’s Andie initially believes Hansen’s propulsiveness may propel her own career in the process. However, when his priorities gradually shift to the “whale” he’s searching for, like it’s his own Moby Dick, Andie’s turn may feel like a betrayal. It may be hard to find sympathy in what she does, likely because she can’t fully relate without kids of her own. Yet, the way that Hansen’s incredible hubris unravels before her makes one hope she’ll find the light. All in all, Wever does an amazing job capturing Andie’s struggles of maintaining everything while letting her ego peek here and there.
Of course, Primetime wouldn’t be what it is without Robert Pattinson’s stellar performance as the would-be king of NBC. Pattinson infuses a hardened sense of devotion into Hansen through his cold, almost-manic demeanor behind the scenes. Even when Hansen’s on-camera, one can feel a burning rage for the monsters, as Hansen rightfully refers to the predators as, through those intense close-ups. Hansen’s overly ambitious attitude to find respect by his peers and his family is fueled by his complicated decisions, which he assures to “make good on” to Mary. The way that Oppenheim shapes Hansen as this somewhat deluded figure of NBC’s mythology is truly impressive and Pattinson does an amazing job highlighting that obsessiveness.
While all of this is to say that Primetime is a cutting look into Hansen’s inner unraveling, his mission to catch predators is understandable. Oppenheim and his team know that these guys are terrible people and should be punished. Yet, this film also understands the emotional depths that Hansen puts himself in as it doesn’t hesitate to highlight his own manipulative nature. Emphasized by the retro-esque graphics of David Bolen’s camerawork and the bleak, yet sharp editing from Daniel Garber, Oppenheim is fully able to explore the exploitation that came with Hansen’s televised stories.
Primetime is a viciously sharp psychological breakdown of Chris Hansen and the manipulative nature of To Catch a Predator. Robert Pattinson delivers a phenomenal performance, once again, as NBC’s would-be king, with other standouts coming from Skyler Gisondo and Merritt Wever. What Oppenheim has brought to theaters will not only challenge audiences, but perhaps provoke something that gives viewers, and even fans of Hansen’s work, a new perspective of these operations.
Rating: ★★★★
Primetime is now playing in theaters.
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Christopher Gallardo is a freelance entertainment writer and critic with a Bachelor’s of Science with minors in Digital Media & Journalism. When not running The Reel Roller, Chris writes reviews and breakdowns on all things film and TV for outlets including Nerdtropolis, Tell-Tale TV, Eulalie Magazine, and more. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.