Film Review: Primetime
Acclaimed documentary filmmaker Lance Oppenheim (Some Kind of Heaven, Spermworld) has an audacious feature debut in Primetime, a salacious and pulpy adaptation of TV journalist Chris Hansen’s infamous To Catch a Predator TV series. The show aired initially on Dateline NBC and then had its own run from 2004 to 2008. Hansen and his production team used online and in-person decoys to lure pedophiles into an entrapment. He would then confront the perverts before they were arrested by law enforcement.
Oppenheim shoots the film with a grainy stock and vivid color palette. There’s no sharp or clear definition and a disconcerting focus on close-ups. Oppenheim’s intention, which he gloriously achieves with splitscreen editing, is to create a lurid VHS look that leaves the viewer with fascinated disgust. The cinematography in conjunction with Ajon Singh’s script is darkly humorous with several surprising laugh-out-loud moments. This is a truly unexpected reaction given the severity of the subject matter, but adds a different context that may leave some unsettled or upset at a comical take.
Adapted from the article "Tonight on Dateline This Man Will Die" by Luke Dittrich, the film opens in 2006 with Hansen (Robert Pattinson) prepping in a suburban house’s bathroom for his big “gotcha” moment. He’s clearly enamored with making a strong and stern presence as he reads the revolting transcript of the predator’s online conversation. The former Marine (Tony Revolori) thinks he’s meeting a 13-year-old girl, portrayed by a decoy actress (Phoebe Bridgers), for sex with a virgin, but gets the shock of his life when she leaves the kitchen and Hansen makes his grand appearance. The house is outfitted with hidden cameras as his satisfied Dateline NBC producer Andie Bender (Merritt Wever) revels at the damning footage.
The film then introduces Dan Plumb (Skyler Gisondo), an aspiring young actor auditioning for any role in the hope of getting his Screen Actors Guild (SAG) membership. Plumb doesn’t have a clue what part he’s reading for, but his boyish look and freckles immediately stand out to Hansen and Bender. He’s the perfect lure to snag more online predators. As Plumb rejoices in getting the part, Hansen’s raging narcissism and philandering on his distraught wife (Anna Faris) has caught the attention of a notorious tabloid.
Pattinson continues to prove his dexterity as an actor in a performance that will be divisive. His take on Hansen is that of unbridled arrogance and an innate belief he was doing pivotal, just work. Hansen views the predators as an evil scourge that must be publicly outed, humiliated, and then suffer the most severe punishment. But it’s his obession with fame and glory, hence the title Primetime, that drives his every waking moment. Hansen has no compunction about lying and manipulating to further his ambitions. But it’s his odd delivery and facial mannerisms, meant to satirize the actual Hansen, that’s hit or miss depending on your respective. I was quite engaged by Pattinson’s weird overacting, but others may find it to be silly and unrealistic.
The supporting cast, especially Gisondo and Wever, bolster the film with more natural responses to the subject matter and material. Plumb is horrified after his first encounter with a pedophile. This isn’t the acting he daydreamed about, but is constantly pressured by Hansen to commit to catching “bad guys.” Bender has to manage Hansen’s ego while also overseeing the production costs and her career. She also loves the thrill of snagging creeps, but is keenly aware of Hansen’s shortcomings and how that affects her future. They both make critical choices in a climax that shows the extreme results of their duplicity.
Primetime gets a positive rating for its stylized approach and sensationalism. There’s no questioning Oppenheim’s artistry, but the script’s lack of cohesiveness to the and a deeply flawed final act are problematic. There’s no empathy expressly given to the predators, but some might see a couple of the later defendants as being prodded by Hansen’s tactics to a fault. Let’s be clear. No one forced these people to meet what they thought was a child for nefarious sexual purposes, so there’s zero tears shed for comeuppance here. Whether this film accurately depicts Hansen and what really happened behind the scenes will surely be debated and a point of contention. Regardless, it’s certainly interesting to see.
Primetime is a production of A24, Icki Eneo Arlo, Range, and Square Peg. It will be released theatrically on September 25th from A24.
