Photo by Marri Shaeffer ’29
“Primetime” is a new film chronicling a dramatized version of Chris Hansen’s rise to fame through his “Dateline” segment, “To Catch a Predator.”
By Marri Shaeffer ’29
Arts and Entertainment Editor
Through Phoebe Bridgers, interesting cinematography, and the use of analog horror-esque lighting, Lance Oppenheim’s “Primetime” looks at Chris Hansen’s rise to fame through a modernized, thrilling lens.
“Primetime,” produced by renowned horror studio A24, centers on investigative journalist Chris Hansen’s rise to fame through his “Dateline” segment, “To Catch a Predator.” Released in 2004, “To Catch a Predator” showcased confrontations of child predators caught through online undercover “sting” operations led by Hansen and his team. It aired until 2007, and quickly became ingrained in early 2000s pop culture. Hansen, the host of the show, became iconic for his direct confrontations with these alleged criminals. While “To Catch a Predator” was a nonfiction but dramatized true crime TV show, “Primetime” instead frames Hansen’s career through the lens of a psychological thriller, which fills you with anticipation from the very beginning.
In “Primetime,” actor Robert Pattinson takes on the role of Hansen and absolutely embodies it. While watching the film, I was blown away by Pattinson’s performance. From his very first moment on screen, I could tell that he’d researched Hansen extensively. He completely slips into the character, embodying him with the same kind of character acting as Heath Ledger’s Joker in Christopher Nolan’s Batman trilogy. His acting blended seamlessly with the movie’s writing, making for a captivating film.
However, Pattinson was not the only one with a standout performance. Merritt Weaver plays Andie Bender, a composite character based on various producers that worked on “To Catch a Predator” throughout the show’s run. Every time Weaver is on screen, she’s harshly chewing a piece of gum, barking orders at someone, or looking for ways to increase the show’s ratings. Similarly to Pattinson, she embodies the role entirely. You find yourself rooting for her and hating her simultaneously, begging for her to leave the show but also despising her for wanting to do so. She’s absolutely alluring, and deserves just as much praise for her role as Pattinson.
Although the acting is a key success in “Primetime,” the aesthetics employed throughout the movie are a close competitor. The entire movie was shot on 16mm film and then digitized, giving the audience the same experience they would have if they went back to watch old segments of the original show. The lighting throughout the film is also incredibly alluring, with harsh, monochromatic color schemes that keep you watching.
These two visual details combined are reminiscent of the popular analog horror genre that has become so popular in the past few years, but there are no uncanny, inhuman monsters in “Primetime.” Instead, the horror is found in the absolute desperation of Hansen throughout the film. It tells the story of his desire to make “To Catch a Predator” into a national success, and his mental descent as he strives for that goal. It’s terrifying, but it refuses to let you look away.
Personally, I went into the movie knowing practically nothing about the plot. I had some knowledge of the show’s controversies, but didn’t know enough specifics to be prepared for what waited for me in the theater. However, I’d argue that the film would be just as good if you knew everything about Chris Hansen and “To Catch a Predator.” The way in which Oppenheim transforms the story is captivating, and it is obviously meant to catch the attention of a younger audience that may not be familiar with Hansen. Phoebe Bridgers is a supporting actor in the film, playing a decoy working as part of a sting operation, and her song “On Video” is featured as the end credits roll. Her presence, combined with the analog horror elements shown throughout the film, point to a desire to appeal to a younger audience.
Although the film is entertaining, my sole complaint lies with its shallowness. There’s a shivery anticipation that fills you throughout the film, yet there isn’t much payoff. There are plotlines that end up going nowhere, and while I thoroughly enjoyed my experience watching it, I do wish that there was a little bit more depth to the film. I also question the realism of it, particularly the intense character study of Hansen that is conveyed throughout the film. Hansen was not consulted on the film, and even commented on the dramaticism of it, claiming that Pattinson’s performance “was so detached from reality or anything I've experienced then or now doing the investigations.” Additionally, Hansen bought out ad space before every theatrical showing of the film, which he uses to promote his streaming service. According to The Hollywood Reporter, he originally wanted to include a disclaimer which claimed that “Primetime” was “a Hollywood fantasy version” of his actual life, but was advised by legal counsel not to do so out of fear of “blowback” from A24.
Despite the film’s shortcomings, it is absolutely a worthwhile watch. It’s intriguing, and forces you to keep watching even when dealing with the difficult subjects discussed throughout the film. The use of camerawork and lighting are incredibly unique, particularly for a film based on real events, and the commitment to aesthetics makes for a well rounded, almost enchanting film that I already want to rewatch.
Whitney White '28 contributed fact-checking.
