Primetime (2026) eschews a conventional plot for a series of tone-set pieces, following various characters through similar struggles with identity inside the pressure cooker of To Catch a Predator.
It’s honestly kind of badly written. One of the clearest signs is the overreliance on comedy, which appears forthrightly in Robert Pattinson’s performance: his Chris Hansen is stuffed with physical gags. Normally I wouldn’t complain, except I eventually found myself getting sick of all the stupid jokes.
I appreciate a tone poem, but I also get bored in the theater very easily. If I had a reasonable attention span, like my friends, I probably could have subsisted on the excellent visuals. This is Lance Oppenheim operating 24/7 to get his shot. The movie is a color textbook, so delicately composed that its cinematography is an obvious landmark for the year.
But the cinematography doesn’t completely relieve the problems: slow pacing, overreliance on comedy, shallow relationships, predictable character development.
I viscerally enjoy Robert Pattinson’s Chris Hansen, but there’s no other way to put it: this is a chomping-at-the-scenery movie, and it’s also somewhat boring.
★★★½
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