If you asked the general public to make a list of biopics they want to see, Chris Hansen’s name would probably show up pretty far down that list. But lucky for us, Lance Oppenheim had him at the top of his, and for good reason. A bio-pic about the host of “To Catch A Predator” could go a lot of different directions, and a lot of those directions end in a bad movie. It’s a fascinating topic, but one that requires a delicate touch due to the subject matter. Not only does Oppenheim manage to find that balance well, but he manages to do it while crafting one of the most striking films of the year.
Primetime tells the story of Chris Hansen and his shows’ rise to, well, “primetime” on NBC. The film chooses to focus more on Hansen and his reactions to everything happening, rather than going too in depth on the inner workings of early 2000s network broadcasting, which works well. This is a character study more than a historical documentary, which some viewers may find disappointing. But this approach gives the audience a look into Hansen’s character unlike anything before, and with Robert Pattinson is portraying him, it’s easy to see why they made this choice.
Primetime works because Robert Pattinson sells it so well. All the hypnotic visuals, snappy editing, and eerie score all create the right mood, but Pattinson’s performance is what ties it all together. He’s undoubtedly one of the best working actors today, and it’s hard to remember a time he has been better than this. He takes this from a normal biopic about a reality television host, and turns it into a twisted look into the psyche of a man driven to the point of obsession. Pattinson’s not doing this alone though. Opposite him is Skylar Gisondo, who was the biggest surprise from the cast. The dynamic between him and Pattinson is fascinating to watch, and provides some of the most compelling moments of the film.
To match the madness and chaos portrayed by Pattinson, the visuals are having a field day from start to finish. It’s a masterful understanding of color, composition, and lighting on full display. The way in which they show the episodes being filmed is so creative. The constant use of mirrors and reflections was one of the biggest highlights as they made for some one of a kind visuals. Primetime again somehow finds a balance between being heavily stylized, but still feeling grounded, which can be really difficult to accomplish when the camera work is this ambitious.
Come awards season, it’s hard to imagine Primetime won’t be part of the conversation. Pattinson’s hypnotic performance, Oppenheim’s striking direction, and a deeply unsettling story all work together brilliantly, making one of the most memorable films of the year. Primetime is a wild, uncomfortable, eerie ride, but much like the show it is based on, it’s impossible to look away.
4/5 Stars
