THE STORY – In 2006, “To Catch a Predator” host Chris Hansen sets out to make television history.
THE CAST – Robert Pattinson, Merritt Wever, Skyler Gisondo & Phoebe Bridgers
THE TEAM – Lance Oppenheim (Director) & Ajon Singh (Writer)
THE RUNNING TIME – 110 Minutes
Now that it’s officially been two decades since the start of the 2000s, society appears to be reckoning with the phenomena of that time. In particular, the once-juggernaut “To Catch a Predator,” starring Chris Hansen of Dateline NBC, has received increased attention and reflection lately. The program, which exposed adults who pried upon children online, captured the nation’s attention and, much like Danny Boyle’s “Ink” explores, sensationalized our daily lives and made us wonder what’s happening behind closed doors. In recent years, a loaded question has emerged in relation to the show: Could something that did some good in the world also cause damage? The Sundance documentary “Predators” examined the rise, fall, and lasting legacy of the program, and even got Hansen to speak on the record, even if he himself had nothing to atone for. Now, Lance Oppenheim takes the story to the big screen with “Primetime,” which explores how starry-eyed ambition can cloud anyone’s judgment. Audiences get yet another great 2026 Robert Pattinson performance. Still, the true standout is Skylar Gisondo, whose character ultimately has the more interesting story even though the film doesn’t make him the focus.
By now, most are familiar with the set-up of “To Catch a Predator,” which would show explicit chatroom content from pedophiles, attempts to lure them to the “child’s home,” and, everyone’s favorite part, Chris surprising them with his calm demeanor. “Primetime” kicks off in that same vein, with such attention to detail that set designers nail the exact shade of mahogany seen in decoy kitchens and the grainy camera quality of technology back then. Showing both the chaotic happenings behind the scenes, like decoy Del (Phoebe Bridgers) posing as a young girl and producer Andie (Merritt Wever) getting into position, and the predator (Tony Revolori) getting excited for what he thinks will be a good time, there’s high energy in every moment, to the point that you feel your heart rate increase. But then Chris Hansen (Pattinson) comes out, with the actor nailing his cadence and easygoing approach, and hits the creep with his iconic line, “You see how this looks, right?” We do, and we can’t help but eat it all up. Even though it’s cinematic, those opening moments feel so true to reality, a credit to Oppenheim and his previous documentary work. He later also blends archival and CCTV footage, which further gives the film a very grounded approach.
Things are about to get kicked into an even higher gear once the show earns a primetime slot against ABC’s “Lost.” All his dreams of taking the show and himself to a new level become the only thing he can think about. His family becomes a low priority because he’s rarely home, and even when he is, he only wants to talk about the show. To reach a ratings breakthrough, the program needs to recruit a new decoy, who comes in the form of aspiring actor Dan Plum (Gisondo), who is eager to do anything if it gets him his SAG card. They’re also in search of “the whale,” a pedo deep within the institution, who will shock the nation and give them the success they’ve always wanted.
Viewers have come to expect Pattinson to deliver a great performance with each of his roles, and that’s no less true here. Not only does he match the host’s mannerisms, but his slow descent into madness is an entertaining ride, much like Jake Gyllenhaal’s story-hungry photojournalist in “Nightcrawler.” While he may be more restrained at first, the more he chases the whale and feels pressure from all sides, shades of unhinged Pattinson emerge, like in one goofy scene he shares with Wever. However, the film’s energy often dips once screenwriter Ajon Singh pivots to focus on Chris’ personal struggles, aka a marital affair. It’s a tired trope and ultimately doesn’t add much to the film, especially when his wife, played by the great Anna Faris, is so underutilized.
Instead, Gisondo emerges as a stellar player in this ensemble, and the cognitive dissonance his character experiences is compelling. On the one hand, he wants to be an actor, and “To Catch a Predator” promises that big chance. We see him eagerly getting into character as a high-pitched 13-year-old and taking every aspect of it seriously. On the other hand, once he sees what the work entails — a stiff whipped cream surprise on his first shoot, which ends in a successful arrest — he is, understandably, disgusted by it all. To later see the dynamic between him and Chris, with the veteran journalist trying to reassure him that what they’re doing is cleansing the world of evil, only further highlights how ambition can both be a good and bad thing, especially when it stops you from seeing the harm that may be caused. The more Dan continues, the more he gets swept up by his acting pursuits, so he doesn’t see the situations he’s a part of clearly until he gets a sobering dose of reality once episodes start airing. All of that is far more interesting than an affair and should have gotten more of a spotlight. Wever also doesn’t get enough time and material to shine, but seeing her aggressively chew on gum and try to disarm Pattinson’s Chris never gets old.
Those who know the history of the show, or who watched “Predators,” know the film is headed toward an explosive finale, but that doesn’t hinder it whatsoever. Oppenheim knows that too, so he kicks the energy back up with colorful, fast-paced editing when the team, led by Xavier (Matthew Maher), tries to lure in their whale online. There’s so much chaos leading up to the moment, including botched plans, mismatched communication, and Chris fully losing his composure. He still only has one goal in mind, and absolutely nothing will stop him from getting it, no matter what’s happening in his life, a big scandal dropping about him soon, or all the pushback he’s receiving from his team. And while he may not be considering all the consequences of his actions, Dan once again steps up to reflect all the emotions that we’re feeling as we watch a true television disaster unfold.
While “Primetime” may not entirely be a narrative home run, there’s still plenty to rave about here. Pattinson further proves he’s one of our most interesting actors working today, always up for the challenge of taking on roles that are exciting, refreshing, and offering something different for audiences. This will also hopefully be a big moment for Gisondo, who shows he’s a secret weapon in bringing out the complexities of this former program. Even though “To Catch a Predator” was a short-lived series, its impact is still felt decades later, and it continues to spark captivating conversations in media.
