In 2006, “To Catch a Predator” host Chris Hansen sets out to make television history.
“Primetime” is a dramatized behind-the-scenes look at “To Catch a Predator,” using the show’s production to explore ambition, identity, and the lasting effects reality television can have on everyone involved.
“Primetime” probably isn’t the movie most people expect. Even though the marketing naturally highlights “To Catch a Predator” and Chris Hansen, director Lance Oppenheim is much more interested in the people behind the show and the impact it had on those who helped create it. Rather than focusing on the predators being caught, “Primetime” explores what it was like to work for the show and how those experiences impacted lives both on and off camera.
What surprised me most is how willing the film is to challenge the way viewers see Chris Hansen. Robert Pattinson delivers a weird but effective performance that presents Hansen as a far more complicated figure than the television personality most people remember. At times, he appears less like the story’s hero and more like a symbol of the ambition and opportunism that fueled the show’s success.
The film’s heart, however, is Daniel (Skyler Gisondo). Seeing the story unfold through the eyes of an actor brought in to play a role on the show gives “Primetime” an original perspective. Daniel struggles with his own insecurities, questions his purpose, and tries to figure out whether becoming “Decoy Dan” is something he should embrace or reject. His journey gives the film its emotional core and turns what could have been a simple recreation of a famous television program into something much more personal.
Stylistically, the film leans heavily on horror to convey its character themes. The direction creates a constant sense of awkwardness and unease. At times, it feels more like an early-days A24 psychological thriller than a traditional drama, and Oppenheim’s approach works surprisingly well. The tension isn’t limited to the sting operations themselves. It’s present in nearly every interaction as the characters wrestle with the moral gray areas around what they’re doing.
The 2006 setting also adds a lot to the experience. The archival footage, pop culture references, and overall atmosphere do an excellent job recreating the era. As someone who remembers that period, it seemed like a genuine snapshot of a very specific moment in television history. I also got a kick out of the Texas setting, which takes every stereotype and cranks it to eleven. The cowboy hats, oversized police trucks, barbecue, and casual political jabs are so over-the-top they become part of the film’s charm for me.
Plenty of genuinely funny moments pop up throughout, and the movie played surprisingly well with the crowd I saw it with. The humor helps balance the darker themes and makes the quieter character moments land even harder. As Daniel finds confidence and a sense of purpose within the team, the film becomes less about the television show itself and more about the identity people build through their work.
What makes “Primetime” work for me is that it refuses to provide easy answers. This isn’t a celebration of Chris Hansen or a straightforward retelling of “To Catch a Predator.” Instead, it comments on how reality television can shape lives and create unintended consequences. Whether the people making the show were doing the right thing is a question the film leaves for the audience to answer.
I don’t think this one will work for viewers looking for a nostalgic or feel-good story about a famous television program. In many ways, it’s the opposite. But for anyone interested in character-driven dramas that explore the complicated relationship between morality, ambition, and identity, “Primetime” is a fascinating watch that stays with you long after the credits roll.
In Theaters Friday, September 25th
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