This article contains spoilers for Primetime.
Michelle Bookbinder ’29: Thumbs Up
Just like its source material, To Catch a Predator, Primetime (2026) can best be described as utterly revolting. Softly whispering obscene sexual chatroom commands, Chris Hansen (Robert Pattinson), host of the Dateline NBC television series, greets audiences in the opening scene. As a viewer, it’s impossible not to squirm. These commands are graphic, grotesque and exactly what captures the attention of audiences. Primetime knows what it's doing: Preying on viewers’ repulsion, the film ensnares audiences through provocation just like To Catch a Predator.
Robert Pattinson masterfully portrays this primal provocation in his role as Hansen. Rather than lean into a depiction of Hansen as a superhero who undertakes the noble task of stopping online predators, Pattinson shows Hansen as a much more morally gray figure. Hansen prioritizes maximizing television ratings over seeking real justice. Instead of approaching his work with sincerity, he mulls over how to exceed the viewership of Lost. Pattinson captures Hansen’s self-interested, arrogant nature in subtle smirks moments before he brings out his camera crew and reveals: “I’m Chris Hansen with Dateline NBC.”
Primetime undermines Hansen’s role as an arbiter of justice on television with the injustices in Hansen’s personal life. The film calls attention to Hansen’s infidelity within his marriage, eroding his false sense of self-righteousness. While infidelity is certainly not comparable to child predation, I appreciated the film’s exploration into the hypocrisy of Hansen’s character.
In addition to Pattinson’s nuanced and convincing performance, Primetime’s cinematography stood out as a captivating element of the film. Thoughtful camera zooms portrayed Hansen encroaching on predators and audiences alike in a slow, calculated walk. A fuzzy, grainy filter covering much of the movie sends audiences back to the early 2000s during the airing of To Catch a Predator and other hidden camera television shows. The film also included many split screen shots, simultaneously displaying views from multiple cameras, to make audiences feel like they were part of the production team. With saturated colors, fuzzy filters and engaging camera shots, Primetime pulls audiences into a nostalgic, addicting online world.
As the cinematography transports viewers next to Hansen and production, it forces audiences to question the complicated ethics of To Catch a Predator. In the film’s not-so-feel-good ending, we consider just how dangerous the conflation of entertainment and justice can be. When does an admirable televised pursuit turn into a selfish ethical breach? Is there a punishment worse than immortalizing one’s crimes on TV? Where is the line between the pursuit of justice and complicity? Primetime poses these provocative questions throughout its uncomfortable story. Although at times revolting, it’s impossible to look away.
Jane Locke ’28: Thumbs Up
If you’re looking for a non-stop rollercoaster ride of thrills complete with phenomenal performances and a few dark laughs, Primetime is the movie for you. If you’re looking for a movie you’ll enjoy, you may be in for a conflicting experience. Primetime, named after the television timeslot when the largest audience tunes in, is an enthralling and addictive dramatic reimagining of the workings of the 2000s television show To Catch a Predator, wherein a crew investigates and exposes adults who prey on young children. The film takes most of its inspiration from an article published in 2007 called “Tonight on Dateline This Man Will Die.” Robert Pattinson, who also produced the film, portrays host Chris Hansen as he desperately searches for “the whale,” a shocking predator reveal that could skyrocket his show into the big leagues and secure lasting fame. However, the work of transforming justice into spectacle threatens the mental well-being of all involved.
To begin, the quality of Primetime is second to none. Robert Pattinson delivers his lines with a personality wholly different from anything he’s done before. He’s so good that you’ll actually feel like there wasn’t enough focus on his character. You’ll leave the theater wanting more and wondering if Pattinson was the main character all along. That’s due to the masterful presence of actor Skyler Gisondo, who plays “Decoy Dan.” Gisondo is the heart and soul of the movie, drawing you in completely as Dan Plum. Plum is a wannabe actor who unwittingly signs himself up to be a decoy minor on Chris Hansen’s show. Gisondo saves this movie from utter darkness by adding much-needed sympathy, warmth and emotion as the audience follows along with his qualms about the work he is asked to do. Together, Pattinson and Gisondo participate in a push-and-pull relationship that illuminates how far certain characters will go to provide an audience with something to see.
Furthermore, the disturbing aspects of the film are what make Primetime difficult to love but captivating to watch. To say one “enjoyed” a film is often to say that the experience was unchallenging, light and relatable. If someone said they enjoyed Primetime, I might be a little concerned. However, there is no denying that Primetime is a work of art. The score for this movie is expertly crafted, the color grading and visuals are stunning and the writing will not leave an audience disappointed. Yet, it also makes us ask uncomfortable questions like if there is a difference between what can be made into entertainment and what should be.
Overall, the hype building up for months around Primetime is not unfounded. Most likely, the film will pick up a decent number of Academy Awards nominations and garner much-deserved recognition for Pattinson and Gisondo. My only hope is that, while you watch it, you take the time to ask yourself if the crew broadcasting the darkest parts of humanity for national amusement is in the right.
‘Thumb War’ is a taste of two critics’ opinions on the same piece of media.
Michelle Bookbinder is a member of the Class of 2029 in the College of Arts and Sciences. She is a staff writer
for the Arts & Culture department and can be reached at msb394@cornell.edu.
Jane Locke is a member of the Class of 2028 in the College of Arts and Sciences. She is a staff writer for the Arts & Culture department and can be reached at jlocke@cornellsun.com.
