Primetime Movie Review
Lance Oppenheim's Primetime works as a subtle indictment of its subject matter and a compelling character study of television journalist Chris Hansen. Robert Pattinson plays Hansen, a character loosely inspired by the journalist, who heads sting operations to catch online predators on national television with a show on NBC. With the help of a decoy posing as a teenager and a team of vigilantes, Hansen lures his prospects into a seemingly safe place and catches them red-handed in the act. Soon, law enforcement storms into the scene and apprehends the targets. Hansen believes he is cleansing the world of a perennial evil, but the film shows the ethical flaws in the method behind his madness. The film indicts the man for his actions without discrediting him or his ‘achievements' while making the audience wonder who the predator and the prey in the situation are. In a way, it turns a private act into a public stunt. The film also suggests that the people whom Hansen catches may be his ‘victims,’ without downplaying the gravity of their actions.
Director: Lance Oppenheim
Cast: Robert Pattinson, Skyler Gisondo, Merritt Wever
The NBC show in the film blurs the lines between coverage of public safety issues and commercial entertainment, prioritising shock value and television ratings over thorough investigative journalism. There are no safeguards in place for the decoy in the show or for the prospects for that matter. Hansen and his team claim to serve the public good, but the film makes the audience wonder whether they even treat their own members with basic decency. Take, for instance, the scene where show producer Andie (Merritt Wever) and her colleague force Dan Plum (Skyler Gisondo) into new clothes the moment he steps onto the set for his first day on the job as a decoy for the stings. Andie tells Dan that he is not dressed appropriately for the imminent sting operation, but she barely gives him time to change himself. Consent gets crushed under the weight of sheer commercial ambition here. The expression on Gisondo’s face perfectly conveys the horror he confronts in that moment and lays the groundwork for his evolving moral dilemma.
Primetime is as much an exploration of Hansen's obsession with ratings as it is a depiction of his descent into madness. Gisondo’s character, whom Hansen names ‘Decoy’ Dan and calls a ‘superhero’ for supposedly stopping future crime, becomes a part of his journalistic ‘legacy’. In a lesser film, Dan would be a mere spectator of the ‘spectacle' unfolding in front of him in the name of a sting operation. In Primetime, he is an active participant in Hansen's journey. What enhances the dynamic between them is Dan’s idolisation of Hansen as an Emmy-winning journalist whose fame he tries to emulate—something which the film frames with tragic irony.
Ajon Singh's screenplay also offers fascinating insights into Hansen’s troubling life with his wife Mary Joan Hansen (Anna Faris). The layered script makes even seemingly simple sequences pop with potent and provocative detailing, such as when Pattinson’s character calls his wife and introduces himself as ‘Chris Hansen,' the same way as he does to his prey before police apprehend them. What kind of man would be this formal to his own wife? A man so consumed by his public persona and career that he does not have the time to interact authentically with his better half. The writing offers breathing space for such contemplation while never losing sight of the central inquest into Hansen's crusade for justice. The climactic sequence masterfully builds tension, bringing Hansen's arc to a satisfying point while tying together his complex dynamic with ‘Decoy’ Dan. The only missing element in the screenplay is perhaps some information about the legal repercussions of Hansen's operations. Even a brief postscript detailing the real-world legal outcomes of these stings would have grounded the film further, turning it into an even sharper cautionary tale.
What makes Primetime even more fascinating is the cast, especially Robert Pattinson in the central role. This year, we have been fortunate to witness Pattinson at the peak of his powers so far. The year started with The Drama, which is about the performative nature of marriage as an institution. Then came Christopher Nolan's The Odyssey, where Pattinson plays a suitor trying to coax a woman into a marriage she does not want so that he can occupy the throne. In Primetime, he tackles performance of a different kind—this time portraying the rehearsed drama that modern television demands.
Without reverting to loud theatrics or histrionics, Pattinson offers a compelling and complete portrait of his protagonist, from the half-smiles that capture the character’s megalomania to the quieter moments that mirror his moral complexity. Hansen believes he is society's saviour, and Pattinson's performance never makes you doubt the character’s true intentions. It serves as a solid companion piece to his other roles, capping off a great year for the actor. Complementing Pattinson with solid turns are Skyler Gisondo as Hansen's protege and Merritt Wever as his show producer. Oppenheim's filmmaking, from the close-ups of Hansen to the grainy shots that capture the grey area in which he operates, adds to the assured screenplay to keep the film's core messaging razor-sharp. After all, there is no greater indictment of the system than the realisation that Hansen's flawed pursuit for a perfect society might only leave more predators in its wake.
