For a program that only lasted 20 episodes over 3 years, it’s hard to state how much of a cultural impact Dateline NBC spin-off To Catch A Predator made within that brief window of time. The problem is that while it exposed the real threat of child predators preying on children online, the show’s brand of pseudo-vigilantism masquerading as journalism is something that would garner major controversy on its own. That is the area in which documentarian Lance Oppenheim explores in his feature debut, Primetime, a film as captivating as it is nauseating.
Based on a 2007 long-form Esquire article, Primetime is a heavily dramatized depiction of the events that would ultimately lead to the show’s cancellation. For the uninitiated, it operated on a simple premise: A team would pose as a minor in chat rooms, talking to would-be predators and convincing them to meet in person. After a brief meeting with a decoy, Chris Hansen, portrayed by Robert Pattinson, would then confront and shame the predator for his actions before they’re arrested by the local police soon after.
The film takes us to the year 2006, where To Catch A Predator is a major ratings hit. So much so that NBC’s then-head honcho Jeff Zucker (playing himself in a cameo) decides to move the show to Wednesday nights, directly competing with ABC’s mega-popular Lost. For Hansen, this is the opportunity he desperately wants to be the top dog over Dateline’s Stone Phillips. But being in primetime means he needs to find a “whale,” someone notable who will make people need to tune in above all else. Sure enough, that opportunity will arrive.
“From the first second, Oppenheim and writer Ajon Singh want you to sit in discomfort.”
From the first second, Oppenheim and writer Ajon Singh want you to sit in discomfort. Part of it is through David Bolen’s stunning cinematography, shooting the entire film in 4:3 and with a grimy-yet-colourful visual aesthetic feeling like we’re watching through an old CRT TV. The other part is conveyed by the opening scene itself, of Hansen repeatedly reciting vile chat messages in anticipation of the predator’s arrival.
Robert Pattinson gives his best performance in a year already filled with great Pattinson performances. Portraying Chris Hansen as some sort of craven, fame-obsessed sociopath is hardly flattering; but from the first frame, Pattinson is utterly captivating. The film’s version of Hansen sees the show as a great public service to America, as if he is the ultimate good.
However, every scene where he speaks to a fan of the show feels as if they’re congratulating him for satisfying their bloodlust. He even wakes up his two young children in the middle of the night just so he can show them his new episode. The film does play a bit fast and loose with chronology, as there’s an infidelity subplot which wouldn’t factor into Hansen’s life much later, though.
“That is the area in which documentarian Lance Oppenheim explores in his feature debut, Primetime, a film as captivating as it is nauseating.”
I should note that Primetime is not merely a one-man show; the entire ensemble cast is just as much on Pattinson’s level. Merritt Wever is incredible as Hansen’s equally ruthless lead producer, Andie Bender. Singer Phoebe Bridgers makes a great acting debut as lead decoy Del. But it’s Skylar Gisondo who makes the biggest impression as Dan Plumb; a naive, up-and-coming actor who gets hired as the newest decoy and maybe the film’s only bit of “heart” before he’s eventually also poisoned by Hansen’s ambitions.
Primetime is dark, it’s ugly, it’s surprisingly funny, it also feels in step with Danny Boyle’s Ink, as both films interrogate how our society was already on the path to its current nadir because of the audience’s demand for salaciousness in shows like this. I think this film makes a stronger case for us being complicit in getting to this point.
Even though the show’s targets are legitimately awful people (which the film makes no uncertain qualms about), it still doesn’t make the show or its creators heroic. It just meant they were able to exploit the easiest targets available for profit. It’s the best film of the year that made me want to take a shower immediately afterward.
