For a film set during the early 2000s, it is remarkable how powerfully Lance Oppenheim’s narrative-feature debut, Primetime, functions as a searing indictment of modern culture. That connection is entirely intentional. The film takes the true story of Chris Hansen and his era-defining television series To Catch a Predator and draws a direct line between the seeds planted around the turn of the millennium and the cultural damage that has emerged in the years since.
This is exceptionally delicate material that demands tremendous nuance in both its interpretation and thematic presentation. Thankfully, Oppenheim and his collaborators prove more than capable of handling it. With a genuine leading man in Robert Pattinson at its center, Primetime becomes far more compelling than a Chris Hansen biopic ever had any right to be. The result is a taut, lean, airtight tonal balancing act that leaves an indelible impression.
TOP FIVE THINGS ABOUT “PRIMETIME”
5. The Script
The screenplay for Primetime, written by Ajon Singh, is frankly remarkable. While countless biopics fall into the trap of attempting to chronicle too much of their subject’s life and consequently spread themselves thin, Primetime focuses on one incredibly specific moment in Chris Hansen’s career. By zeroing in on the period when Hansen was trying to transform To Catch a Predator into a bona fide primetime sensation—and putting everything on the line to make it happen—the film can explore the down-and-dirty details of this heightened, emotionally charged chapter. It absolutely rules.
The story is exceptionally taut, with every scene accomplishing several things at once: developing the characters, propelling the larger narrative forward, and engaging with the screenplay’s central themes. In other words, this is simply an incredibly well-written movie, something that has become surprisingly rare. Singh is clearly a gifted writer, and his talents shine throughout. Primetime feels far closer to David Fincher’s The Social Network than it does to a conventional, stodgy biopic.
4. The Score
Prior to making Primetime, filmmaker Lance Oppenheim had established himself in the documentary world with acclaimed releases such as Some Kind of Heaven and Spermworld. On both films, he collaborated with composer Ari Balouzian to pretty stellar results. Thankfully, that artistic partnership carries over to Primetime in phenomenal fashion.
Balouzian’s score is classical in nature while remaining unnervingly sparse at certain moments. It frequently resembles a traditional noir soundtrack, sometimes extending that influence to the fidelity and texture of the audio recordings themselves. The music pairs exceedingly well with the grimy, acidic quality of the film’s visuals—more on that shortly—creating an unexpected yet powerful harmony between sound and image.
The result is striking and incredibly effective. Balouzian’s music does not merely accompany the film; it actively strengthens its atmosphere and unease. I wish more movies were willing to take these kinds of ambitious swings with their musical choices. Great stuff.
3. The Ensemble Cast
Much of the conversation surrounding Primetime has understandably focused on its subject matter and leading man. However, it is crucial to recognize that Robert Pattinson is hardly alone in this endeavor. He is surrounded by a veritable murderer’s row of remarkable performers doing incredible work.
Merritt Wever delivers a powerhouse performance as Andie Bender, Hansen’s producer and unofficial keeper. She commands every scene, initially appearing to be one of the few responsible adults behind the wheel. That makes it even more impactful when she begins losing her grip amid the growing chaos. Alex Winter appears in a surprising role and serves as an essential pinch hitter for the film. Anna Faris arrives for one scene and reminds everyone that she still possesses tremendous dramatic ability and off-kilter comedic instincts.
The most notable supporting performer, however, may be Skyler Gisondo. He plays Dan Plumb, a new decoy who joins Hansen’s team during this turbulent period and gradually emerges as the film’s stealth protagonist. Gisondo has excelled in everything from Rob Zombie’s Halloween and The Righteous Gemstones to Superman, but this may be his finest work. His astonishing mixture of pathos, vulnerability, dramatic weight, and comedy deserves serious awards attention.
2. Oppenheim’s Demented Visuals
I cannot overstate how completely f**ked up Primetime looks, in the absolute best possible way. When the trailer first arrived and clips began circulating online, I assumed I was watching footage captured from a highly saturated screen and further distorted by that secondhand filming process. But no—that is simply how the movie looks at its most fundamental level, and it is awesome.
Lance Oppenheim and cinematographer David Bolen, another stellar collaborator carried over from Oppenheim’s documentary work, have given the film visuals that occasionally appear radioactive. The color palette is garish and acid-drenched, yet the film’s underlying visual grammar—its compositions, camera movements, and editing—is rooted in classical technique. Just as Ari Balouzian’s score draws heavily from noir, the imagery frequently follows suit.
Pairing that traditional foundation with an insane color grade and gonzo lighting creates an entrancing visual feast. Primetime looks unlike anything else you will see this year. Even Oppenheim and Bolen’s other collaboration, the Nathan Fielder documentary You Can See Everything, possesses a substantially different visual identity. That singularity is an extraordinary strength.
1. Robert F**king Pattinson
Robert Pattinson is a man possessed in this movie. The film’s true ingenuity lies in positioning Skyler Gisondo’s Dan as both the audience surrogate and stealth protagonist. That decision frees Chris Hansen from the responsibilities of being a conventional leading character, allowing him to become something far stranger: an off-the-wall personality actively descending into madness.
Pattinson approaches the role with precisely the kind of insane commitment audiences have come to expect from him. Nearly every scene contains some unforgettable, completely outside-the-box acting choice—the kind of fearless, unpredictable work that rarely reaches the big screen anymore.
I have defended Pattinson for years, so watching him finally receive the widespread adoration he has long deserved for his recent performances has been incredibly satisfying. Even among his remarkable work this year, Primetime may represent his finest achievement. This is an absolutely unhinged performance that feels like being blasted directly in the face with acid-funk, in the best possible way.
RGM RATING
Primetime is a phenomenal film that finds Lance Oppenheim making the leap from documentaries to narrative features with startling confidence. He brings many of his longtime collaborators along for the journey, creating something that feels distinctly and unmistakably his own. Working from an incredibly strong screenplay and surrounding himself with gifted performers delivering miraculous work, Oppenheim announces himself as a major narrative filmmaker. This is what movies were made for. Great stuff.
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