'Primetime' Review: Filthy And Hypnotic Cinema
Robert Pattinson steps into the slippery skin of To Catch A Predator’s Chris Hansen in A24’s ‘Primetime’, a riveting, filthy and hypnotic character study that has firmly entered the awards conversation.
‘Primetime’ takes place in 2006 and centers on Chris Hansen (Robert Pattinson), host of NBC’s ‘To Catch A Predator’, his show increasingly rising in popularity as he’s bumped to the primetime slot on the network, an accomplishment that brings with it substantial pressure and expectations. Naturally, Chris and his producer Andie (Merritt Wever) set out to find the nastiest predators they can in order to ensure high ratings and the prestige that comes along with it.
On paper, centering a film on Hansen and his infamous show didn’t seem like the most inspired or compelling concept, but writer Ajon Singh and director Lance Oppenheim prove that execution is truly everything. It also helps that Oppenheim’s casting is perfection across the board. Pattinson effortlessly slips into the shoes, mannerisms and voice of Hansen, transcending imitation as he delivers a mesmerizing performance, making the man fascinating to watch throughout as he explores Hansen’s narrow minded pursuit of fame and success at any cost. His camera ready facade and persona always feels as if it’s about to slip, the cracks revealing themselves often and to unsettling effect especially as his personal life begins to crumble into ash. Pattinson, especially this year, has showcased his chameleonic skills and versatility which is on full display here as he continues to cement himself as one of the most exciting actors working right now.
The supporting performances are fantastic as well. Skyler Gisondo delivers career best work here as Dan Plumb, a struggling actor who is hired as one of the show’s “decoys” in order to trap and ensnare predators. His charm and likability is as present as ever, but the pathos and inner turmoil he conveys as Dan essentially becomes the moral conscious of the film is a true highlight. Through his eyes, the audience is able to take a disturbing peek behind the curtain as he witnesses Chris and his team operating within the morally gray seemingly without any reservations. Wever is also a standout as Andie, Chris’ producer who is emotionally numb to anything in front of the camera as she quietly yearns for validation of her work, the unsung backbone of the show. Her scenes with Pattinson are especially electric, the dynamic between the two highly magnetic and engaging to watch. The journeys of both of these characters are not only emotionally compelling, but help shine a light on Hansen’s self-centered nature.
Then there’s Oppenheim’s direction which, coupled with DP David Bolen’s striking and luscious cinematography, firmly pulls the viewer in and doesn’t let loose until long after the credits roll. The vintage visual aesthetic lends perfectly to the material and time period, making the audience feel as if they’re watching the film on an old, nostalgic CRT display. Oppenheim’s thoughtful framing and focus on character helps the film shine, successfully making it feel like more of a disturbing character study akin to ‘Nightcrawler’ than a surface level exploration of the To Catch A Predator. The way he’s unafraid to plow the ugly depths of the inner workings of the show and Hansen himself gives the film an undeniably hypnotic tone and feel as it delivers one helluva journey, paced to perfection despite tackling deeply disturbing material.
However, the film’s biggest strength is how it explores the murky intentions of Hansen and his crew as they continue to seek out, embarrass and ultimately help capture these predators. The film makes it abundantly clear that though Hansen and his team helped uncover a myriad of nefarious and grotesque individuals, they did so for the success, acclaim, ratings and penetration of the social zeitgeist under the guise of social justice. No matter how uncomfortable decoys felt or what lengths they needed to go in order to make their episodes work, they pushed forward without a second of hesitation or self-reflection, uninterested in reconciling the morally dubious work they’ve tethered themselves to.
The only area where the film comes up a little short is in fleshing out its supporting characters. This is especially notable in regards to Andie, who is given little to no depth as she navigates a possible move to a new show where her talents could possibly be more recognized. Despite a stellar performance from Wever, it felt as if there was a considerable amount of potential left on the table when it came to exploring Andie and her relationship with Chris as well. The same could be said for Phoebe Bridger’s Del, another one of the show’s more seasoned decoys. Bridgers brings a palpable well-worn and emotionally vacant nature to the character that works exceedingly well, but the film could’ve benefited from exploring her more, especially as she shows Dan the ropes when he first gets reeled into the series.
‘Primetime’ is not only a phenomenal character study, but absolutely one of the finest films of the year thus far and another winner for A24. Oppenheim’s steady hand at the wheel coupled with a spectacular central performance from Pattinson, makes for delightfully grimy and electrifying entertainment. Simply put, this is the kind of film that will make audiences want to run home, burn their clothes, run the hot water and wash the filth off their skin.