“You see how this looks, right?” What seems to be a simple opening line to give context for the premise of Lance Oppenheim’s “Primetime” turns out to be a first glance at the deeper meaning woven throughout every storyline.
“Primetime,” a highly anticipated semi-biographical thriller released on Sept. 25th, follows Chris Hansen, played by Robert Pattinson, as he works to grow his reality show “To Catch a Predator.” In the early 2000s, Chris Hansen partnered with Perverted Justice, an organization that investigated conversations adults were having with minors in chat rooms. The perpetrators would show up to a house where they believed they were meeting underage children. Instead, Hansen would show up to confront them, armed with printouts of their chats and a large camera crew. The movie currently sits at a Rotten Tomatoes score of 86 percent, one that is definitely well deserved, as it is grotesquely unique and features exceptional acting. However, it is not exempt from flaws, as its pace is confusing and erratic.
The film begins with our off-putting protagonist preparing himself to catch a predator. We are introduced to characters like Andie Bender (Merritt Wever), the fictional frantic producer, and Decoy Dan (Skyler Gisondo). Much of the beginning of the film centers around his character (based on real-life performer Dan Schreck), an aspiring actor pulled into the world of “How to Catch a Predator,” getting hired as a “decoy” that lures the assailants to their ultimate demise. We learn quickly that Dan excels at his job and becomes a useful tool for Hansen getting his show on NBC’s “Primetime.” Gisondo’s performance is one of the standouts of the film — consistently on par with his more experienced co-stars. While Gisondo offers much-needed comedic relief — his Rent-inspired first audition bringing the whole theater to laughter — his role goes much deeper as we watch him transform from naive actor into a morally ambiguous, Hansen-like figure.
One of the most awe-inspiring parts of this film was the retro cinematography. It was shot on twelve different cameras, each with different formats to capture the ambience and shakiness of 2000s reality television. There’s lots of rain and mirrors, and Robert Pattinson looking through the rain and mirrors. The graininess of this movie contributes to its awkward vibes, and it feels as if you have been pulled back in time.
Another important thing to note is how the film successfully blurs the line between what is true justice and what is journalism and publicity. It touches on the question of what the regulations are for ethical journalism. Even though this show helped bring pedophiles to justice, is broadcasting their embarrassment on national television benefiting anyone? This is even more interesting when noted that in real life, only 40 percent of the arrests made on the show were held up in court due to questionable methods and accusations of entrapment.
Ultimately, despite its erratic pacing, “Primetime” succeeds through its retro cinematography, strong performances and unsettling exploration of the relationship between justice and entertainment. It leaves viewers questioning whether the pursuit of a compelling story can come at the expense of genuine justice.
