Lance Oppenheim’s “Primetime” provides a stylized portrait of the rise and fall of “To Catch A Predator,” a reality show airing from 2004-2007. The show, hosted by Chris Hansen (Robert Pattinson), orchestrated the arrest of child predators by initiating contact on online chatting forums before luring them to a set, where Hansen would reveal himself and the police would arrive. This film charts the crew’s pressure to prove themselves when they secure primetime television, the slot between 8 and 11 p.m., exploring the tension between genuine justice and entertainment. Hansen and Dan Plum (Skyler Gisondo), an actor hired to lure in the predators, provide the film’s main perspectives.
Oppenheim is known for his documentary work, which often explores the absurdity in the spectacle of American life. Although “Primetime” is not a documentary, its themes felt deeply in line with his previous work, particularly the exploitative and performative nature of the show. I think the moments that highlight this were the movie’s strongest.
The questionable ethics of using pedophilia for entertainment value aren’t really discussed outright, but create a tension that runs throughout the movie. Despite Hansen’s attempts to fight evil, it lurks out of grasp, embodied by a haunting, mysterious figure. Throughout Dan’s time on set, we see him slowly become disillusioned with the show’s mission. For many of the characters, justice feels hollow despite their success in catching and arresting predatory men, creating a depressing atmosphere. While I’ve seen criticism that the movie invites sympathy towards the predators, I think this atmosphere is more a product of a visceral disenchantment with the show’s contradictory ethics.
The film was shot to be reminiscent of low quality and saturated 2000s television and hidden camera footage. To do this, Oppenheim used 12 different camera formats, including some of the same hidden camera technology used in the original show. I found this dedication to be really effective in creating a viewing experience that was both immersive and offputting.
The performances were also a standout. Pattinson transforms into a neurotic Chris Hansen. Merritt Wever is also great as the show’s producer, Andie Bender. The two characters provide an interesting contrast, as Hansen believes the show is ridding the world of evil, while Bender understands that it is ultimately entertainment.
Because I found the disenchantment felt mainly by Dan to be the most compelling aspect of the movie, I wish the narrative focused more on him. Hansen’s cheating sideplot was used to explain his increasingly erratic behavior, but every time it was brought up, I lost interest, as it felt almost oddly mundane next to everything else on screen. The climax also felt slightly drawn out, or like it could have been restructured slightly. However, overall I’m glad this story was treated with the absurdity and creativity it deserves.
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