The subject matter is dark in Lance Oppenheim’s narrative feature debut, “Primetime”—adult men seeking to have sex with minors. So dark that it became a hit television show on NBC, “To Catch a Predator,” hosted by Chris Hansen, played here by Robert Pattinson. Not to be confused with David Osit’s 2025 documentary “Predators,” which chronicled the show’s rise and fall as words like “entrapment” and “empathy” entered the conversation, this new A24 film draws on the true story but takes several liberties in pursuit of entertainment. Blending elements of horror and comedy, the film takes audiences on a surreal journey that, a few degrees to the right, could have turned into a Boots Riley film.
Was Oppenheim’s far-from-average biopic destined to be made? As Chris Hansen would say, “Have a seat right over there,” while we explore. Writer Ajon Singh was forced to watch “Catch a Predator” with his mother when he was 10, as a sort of safety lesson. While filming “Twilight” in the States, Robert Pattinson became fascinated with the hidden camera show after stumbling upon a broadcast marathon. And Oppenheim’s wife (Abbey Rowe) once hired Hansen to record a Cameo to congratulate her husband on his documentary “Spermworld,” which in itself may be another connection.
What we do know is that “Primetime” was inspired by Esquire’s article, “Tonight on Dateline This Man Will Die.” Written by Luke Dittrich, the article chronicled the tragedy in Murphy, Texas, in which Bill Conradt, the Rockwall County district attorney, shot himself in the head as Hansen, his crew, and local authorities raided his home. The episode largely contributed to the show’s cancellation.
Alex Winter, best known for the “Bill & Ted” movies, plays Conradt, one of the many cast members known for comedy who takes on a dramatic role. Anna Faris (“Scary Movie”) plays Hansen’s wife, Mary, whose marriage is falling apart as her husband becomes obsessed with his TV show—in one scene, Hansen wakes their young children to make them watch TCAP.
Wonderful character actor Matthew Maher (“Dogma,” “Jersey Girl”) plays Xavier Von Erck, the leader of the vigilante watchdog group Perverted Justice, which helped Hansen identify predators for the show by posing as minors in chat rooms. To further lure suspects, Hansen hired adults who looked and sounded young as decoys to meet the men before exposing them on national television.
One of the film’s strongest performances comes from Skyler Gisondo (“Booksmart”), who plays Dan Plum, aka “Decoy Dan,” based on the real-life Dan Schrack. Dan was the one who lured Conradt in, causing the aspiring actor to walk away from the show. In Oppenheim’s film, Dan takes the gig only to get an acting credit in hopes of earning a SAG card. In another interesting casting choice, the other decoy, Del Harvey (who posed as both underage boys and girls), based on the actual Perverted Justice volunteer, is played by singer-songwriter Phoebe Bridgers. Oppenheim cast Bridgers for her vocal range.
We also get cameos in the predator roles by Tony Revolori (“The Grand Budapest Hotel,” “Spider-Man”) as a former Marine, Bob Ari as a rabbi, and former child actor Jonathan Lipnicki, who drops his pants while holding a can of whipped cream.
“Primetime” is not an origin story. Don’t expect to learn how the true-crime series was conceived. The story begins in 2006, when the recurring Dateline NBC segment was already an established hit. Starting here is much better, as we watch the enormous pressure placed on Hansen to deliver after NBC chief exec Jeff Zucker (strangely playing himself) moves the show to an earlier slot to compete with the juggernaut “Lost” on ABC. This is entirely fabricated for the film, but it gives Pattinson another reason to get unhinged, and that’s why you want to see this movie.
The film’s opening shot features Pattinson preening in front of a mirror as an intensified version of the television persona Chris Hansen. Think Rod Serling. The voice sells it as Pattinson rehearses his lines like an actor about to hit the stage. “You see how this looks, right?” His newscaster cadence, drawn out and hitting all the right inflections, is on point. Listening to him read the suspects’ online chats is cringy yet captivating. Pattinson stayed in character between takes to avoid losing the dialect.
A scene where Hansen appears at the top of the stairs, looks down at the suspect below, and hits him with a barrage of questions as he descends feels like a “Twilight Zone” moment, enhanced by the grainy footage and found-footage horror feel. “Pedophile Activity?”
It’s the scenes when the cameras aren’t rolling, as Hansen unravels and loses his grip on reality, that make Pattinson’s performance one of the best of the year. We watch as he juggles being exposed by The National Enquirer for an extramarital affair, his persistence in keeping Decoy Dan from quitting, and the pursuit of the ultimate predator, or “whale,” which leads to Murphy, Texas, and a gun-happy police chief (Bokeem Woodbine) ready to dispense Southern justice, before tragedy strikes and it all falls apart.
Hansen may be calling the shots, but it’s his alter ego, producer Andie Bender (a fantastic Merritt Wever), who proves to be the show’s VIP. She keeps everyone in check, including the suits, Team Predator, and Hansen’s ego. The character is a fictional composite of several producers, once again blurring the line between truth and entertainment. Which, when you think about it, is exactly what “To Catch a Predator” was all about.
(3 ½ stars)
Now showing in theaters
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