The Wasteland Reviewer

Primetime (2026) Written Review

To what lengths would you go to take down a sexual predator? One of the most famous outlets for such a quest was a popular primetime investigation show that captured the culture zeitgeist. To Catch a Predator was such a cultural phenomenon. Chris Hansen and company were doing something that so many people dreamed of doing…stopping monsters who want to sexually assault children. But there is a morally gray area that Hansen’s program exists in as they were accused of entrapment quite often (with many of these cases being thrown out). A24 and director Lance Oppenheim tackle this show and Hansen’s endeavors to bring child predators to justice…and all the seedy elements that went into the existence of To Catch a Predator. 

What makes the film Primetime so special? Watching this film is a cinematic feast that few films are capable of. The visuals for this film are bold and ambitious to say the least. So much of the film has a grain and texture of old 2000s reality programs shot on old video camera footage. The way that cinematographer David Bolen captures an authentic visual palette that is period accurate is quite remarkable. The lighting in the film is also powerful, harsh, and unnerving. There are plenty of moments throughout Primetime where the camera engages with the actors in uncomfortably tight close-ups. This forces the audience into an uncomfortable and disconcerting space that will have you on edge. The music by composer Ari Balouzian is quite atmospheric and intense. This is a film that feels like it has a lingering sense of dread and anxiety behind every frame. Few films look like Primetime and not many are able to keep up the fever pitch tension in the film. Pacing-wise, the film is quite uneven due to the presentation and structure (more on that later). Oppenheim does capture a high energy presentation, but the shaky plotting of the film does get in the way. If anything, Primetime will be known for its ambitious filmmaking and presentation (which is nothing to scoff at). 

Does Ajon Singh screenplay match the energy and ambition of Oppenheim’s filmmaking? Unfortunately, Singh’s script is a little too ambitious and unfocused for its own good? There are too many plot threads being explored in the film when there are some significant elements of Hansen’s story and venture that just get left completely out. First off, the film barely acknowledges at all that most of these cases went nowhere. Singh’s script also leans away from the general controversy surrounding the show. You only really get the moral quandary embodied in one specific case; albeit the climactic conflict in this film. You have Alex Winter’s Bill Conradt who is a powerful man in his local Texas government who becomes Hansen’s “white whale”. This does give the film a driving narrative at the core, but it also simplifies the overall discourse around To Catch a Predator. Hansen’s story in the film feels a bit wasted, to be honest. Martial struggles feel more like a distraction than a thread that humanizes and deepens Hansen’s journey. We witness the spiral that Hansen goes on and his moral bankruptcy which makes the central premise feel more challenging. We can all agree that we want child predators off the streets…but at what cost? The most intriguing elements of the film lie in Hansen’s producer character and one of the decoys. The more human element of the film is Skylar Gisondo’s Dan Plum slowly becoming conflicted by his big break. There is something more compelling here than even the Hansen thread. Merritt Wever’s Andie Bender must also go through something challenging that pushes the boundaries of her moral compass. Uneven and unfocused, the script for the film lets down the incredible filmmaking that surrounds it. 

How does the cast match up with Oppenheim’s efforts? Robert Pattinson has been such a focus of conversation with his leading role as Hansen. It is hard to argue that Pattinson doesn’t deliver. His mannerisms and vocal approach capture the spirit of Hansen so perfectly well. This is a performance that is large, memorable, and quite uncomfortable to watch. Admittedly, it may border on cartoonish which has a specific effect on cinematic experience. As the audience, you never once connect with this man on a human level. We witness the ambition of Hansen and his obsessive behavior as Oppenheim decides to present him as an almost inhuman entity hellbent on greed and his own selfish drive. Let’s just say…Pattinson finds that gear and runs with it to impressive lengths. Gisondo is the real heart of the film. His performance is so human and authentic. His affection and sincerity make Plum the character the audience can truly connect with. We slowly lose faith in Hansen’s vision like Plum does and Gisondo captures the ever-evolving perspective on the show quite well. Gisondo’s ability to capture the youthful nature of his character’s work is also quite impressive and unnerving. Wever is the surprise of the film as her struggle and moral dilemmas become something that the audience can reckon with along the way. Wever captures this internal struggle so well, which is one of the most fascinating elements of the film. There are plenty of impressive supporting turns that fill out the film with the likes of Winter, Matthew Maher, Phoebe Bridgers, Bokeem Woodbine, Tony Revolori, Bob Ari, and Jonathan Lipnicki leaving their own impression on the film and the audience. The biggest waste of the cast though is Anna Faris who portrays Hansen’s wife. This undercooked and bland element of the script leaves this talented actor little to work with and that is just a shame. 

Does Primetime deliver on the buzz surrounding this release? Overall, the film feels a bit underwhelming. The unfocused natural and overly ambitious swing that is its presentation leaves a hole at its core. There is a lack of humanity to latch onto as well as plot threads that feel undercooked and unnecessary. When your film also avoids some details of the subject that are ripe for discourse, that will probably leave the cinematic experience lacking. But Oppenheim and his team deliver a bold cinematic experience that will be hard to match. Along with that, Pattinson does deliver a big, bold, and intriguing performance that is surrounded by quite the ensemble. Much to appreciate and praise…but Primetime doesn’t avoid the criticism of lacking in certain ways.