September 25, 2026 · Watch the official trailer
Exploitation, ego, and the cost of infamy are at the center of documentarian Lance Oppenheim’s latest film, a narrative fiction that blends the world of journalistic cinema with tabloid-esque, exploitative voyeurism.
Oppenheim questions societal norms and expectations through the lens of the classic TV news magazine ‘Dateline NBC’ and its viral reporter Chris Hansen, known for taking down men seeking to have sex with underage teens. While the 2024 documentary simply titled “Predators” examines the history and legacy of ‘To Catch a Predator’ in a more clinical way, Oppenheim sensationalizes his subject matter as an audacious fever dream, pushing the camera in just a bit too close to reveal the haunting inner psyche of its protagonists.
Set during the height of ‘To Catch a Predator’ fandom, “Primetime” follows a relentless and almost manic Hansen looking to find more bad guys to take down, no matter the personal or professional cost. It’s a richly engaging psychological thriller that reveals more questions than it possibly attempts to answer, and one that casual viewers may find themselves scratching their heads at on more than one occasion over the course of almost two hours.
Robert Pattinson stars as Hansen and goes out of his way not to become the man audiences might recognize from television, heightening the drama with a frantic and evocative performance that often seems to sensationalize Hansen into the same kind of dark obsession audiences might recall from Jake Gyllenhaal in “Nightcrawler” or Joaquin Phoenix in “Joker.”
Reimagining the veteran TV broadcaster as a ratings-obsessed devotee to his own persona, Pattinson imbues his performance with a sense of charm that often comes across as being just this side of outright horror. The film certainly leans into this aesthetic heavily in its climactic third act.
There’s a singularity to the performance that radiates off screen, and while both the look and intonation feel loosely like Hansen, audiences will never mistake “Primetime” for being an authentic biopic in the traditional sense.
Merritt Wever is exceptional as the show’s primary producer, acting as a sort of pusher of the drug that is making raw, dramatic, viral content and stoking the flame of the somewhat altruistic vigilante newsman that Pattinson’s Hansen aspires to be.
Skyler Gisondo is a revelation as a young actor trying to break into the business, only to be wrapped up in the world of television sleuthing as a decoy for ‘Dateline NBC’s’ sting operations. The naïveté Gisondo provides allows audiences to see the entire production with bright, fresh eyes, in stark contrast with Phoebe Bridgers’ more stoic, matter-of-fact turn as a veteran decoy seemingly numb to the emotional exposure that filming these stings places on the actor’s psyche.
“Primetime” astounds from a technical perspective, as its wholly unique, stylized visual iconography and cinematography make use of the same DV camera format used by ‘To Catch a Predator,’ creating a world firmly planted in the film’s 2006 setting.
The 4:3 aspect ratio of “Primetime” often works as a stand-in for the show itself, pushing deeply into the characters much as Hansen requests the editors of ‘Predator’ to do in the movie. It helps Oppenheim create a haunting yet alluring worldview, highlighting the sensational nature of Hansen’s work and drawing eye-catching visual parallels on a moment-to-moment basis.
The visual language of “Primetime” stretches to its most bold and audacious when it seeks to reach inside Hansen’s fragile, narcissistic psyche, with reality-bending moments that make audiences question the believability of what is happening on screen and the reliability of Hansen as an authentic narrator for the film.
It’s unique to have the narrative debut of a documentary filmmaker feel this energetic and richly fictional, especially as some audiences may envision “Primetime” having a more traditional biopic structure. Oppenheim plays with the form and bends reality through a uniquely nihilistic screenplay from first-time screenwriter Ajon Singh, heightening the comparisons to both “Joker” and “Nightcrawler.”
An outside contender for a Best Picture nomination, “Primetime” continues a strong year for Pattinson as an actor and will likely earn him the first Academy Award nomination of his career. Wever and Gisondo, while equally worthy of acclaim, seem far less likely to be heralded come award season.
“Primetime” is a provocative thriller that seeks to question the ethics and morality of sensationalistic television journalism by mangling the biopic genre and creating a unique visual tapestry to draw audiences in. While it certainly won’t be every casual cinephile’s cup of tea, “Primetime” revels in its provocative artistry and will certainly be among the year’s most talked-about films, making it something especially worth seeking out in theaters.
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