The year’s most electrifying trailer by far was for Primetime, director and documentarian Lance Oppenheim’s first narrative feature following the story of Chris Hansen and the cancellation of his hit show, To Catch a Predator. The show followed Hansen and his crew as they would conduct stings to expose child predators that they had been messaging online pretending to be children. The film has received a lot of buzz leading up to its release due to Hansen’s disapproval of the trailer, which I personally found to be one of the more visceral pieces of film marketing of my lifetime.
Having just seen the film a few hours ago, I am happy to say that the trailer does not disappoint, and the actual movie is a deeply affecting, disturbing, and psychologically fascinating watch that is one of my favorites of the year. The film focuses on TCAP’s massive rise to fame, and the series of events that led to its cancellation by the network. Starring in the lead role is Robert Pattinson who has been on an absolute tear lately, continually improving and in my opinion giving his best work to date here.
Hansen is an extremely complicated individual, and the film is most interested in exploring the ways in which Hansen’s drive to expose darkness intersects with his own morality, and the inherent exploitation of the media. Primetime is not afraid to go into the darkest corners of what this show was about, and what that darkness does to everyone surrounding it.
Making up the supporting cast is Merritt Weaver, Skyler Gisondo, Matthew Maher, and Phoebe Bridgers in her acting debut. All are fantastic in here, with each of them bringing really fascinating layers to the web of hypocrisy, exploitation, and evil that make up the breezy runtime of the film.
Primetime is a stylistic and narrative heart attack that sticks with you long after the credits role. The cinematography is downright breathtaking, creating one of the most unique visual languages I’ve ever seen. This combines with symbolic choices that come into play later into the film that are utterly horrific. There is no shame in hyperbole throughout which opens the movie up to some skin crawling moments that I’ll be thinking about for a long time. My only real issue with the film is that I wish there was a bit more. The thematic depths explored here are just revealed by the time the story comes to a close. A hair longer of a runtime would have done wonders for me.
Oppenheim is an incredibly exciting narrative voice as a filmmaker, and I hope we are graced with more scripted work from him in the future. Primetime is sure to make audience’s stomachs turn, and heads run wild with the burden of the sensational nature of television, and the sensational nature of the human spirit. Ultimately, it serves to illustrate that when you stare into the depths of darkness, it is always staring back.
Primetime: 4.5/5
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