New film ‘Primetime’ catches us all in its web

Why don’t you have a seat right over there?

Sit, while we talk about “Primetime,” the new A24 film that dramatizes the life of TV host Chris Hansen and the show’s he’s famous for, “To Catch a Predator.”

There is something slightly discomforting in the, dare I say, nostalgia of watching a film that is based on the development of such a show. But “Primetime,” directed by Lance Oppenheim from a script by Luke Dittrich and Ajon Singh, is packed with punches not even the nimblest boxers can avoid.  

The opening scene is familiar to anyone who used to watch the show (or saw the “Primetime” trailer). A guy in a gray shirt comes in, wants to mingle with a minor, helps himself to a cookie, then BAM: Hansen, played by Robert Pattinson, enters the room to introduce himself and the show. “To Catch a Predator” was a staple on millions of screens in America during its run, but “Primetime” takes a closer look at the production of the show and the lives of its key players.

We watch Hansen get the news of a lifetime: Dateline NBC is moving his show, which they’ve shortened to “Predator” for industry purposes, to Thursday nights at 9 p.m., a coveted time slot, up against ABC’s “Lost.”

Off-camera, though, Hansen’s personal life is not even close to Tinseltown perfection. He’s a stranger to his two children and wife, Mary played by Anna Faris. There’s Dan Plumb, or “Decoy Dan,” as Hansen calls him, played by Skyler Gisondo. Plumb is an aspiring actor chasing admittance into the Screen Actors Guild. Finally, Andie Bender (played by Merritt Wever) is the executive producer on “To Catch A Predator.” Bender finds herself proud of the work with “Predator,” but realizes that Hansen isn’t giving her enough of the credit for the show’s success.

“Primetime” takes the audience on a sophisticated look into what it costs to be on television and work in the entertainment industry. It’s much more than Hansen’s story as a show developer. It’s the encapsulation of a wicked little web composed of personal motive, self-destruction and political and public gain, all for a dream in danger of removed from television programming. 

The film features a lot of water elements. Whether it’s pouring in a scene or characters are sitting by a pool, washing hands or drinking water, the theme of washing things clean is evident throughout. However, water is known as one of the natural agents of erosion and while many things and people in “Primetime” were given a fresh start, others came crashing down. From Chris Hansen’s successful jump to the major time slot to later scandals, fresh starts and broken hearts are a pair you’ll witness together.  

The cinematography in “Primetime” is spectacular, and this is where the emotional conflict of the viewer comes in. The audience is being fed a particular type of nostalgia through the chatrooms, the old cellphones and that grainy texture of watching things on an old television. You definitely get the feeling of “Wow, I remember that,” which also means you’re instantly reminded what the movie you’re watching is about. It feels weird to miss a show about pedophiles and the time it belonged to, but here we are.

When it comes to scripting, Singh and Dittrich did a spectacular job; Dittrich is the author of “Tonight on Dateline This Man Will Die,” a 2009 Esquire article that is the basis of the screeplay. “Primetime” has no wasted space, but moves in a way for the audience to capture the development of the key characters. Pattinson and Wever definitely carry the movie with their incredible performances, and I’m excited to see what kind of nominations Pattinson garners come awards season.

Primetime is a perfect example of what can be done in this biopic-esque genre of cinema. It stays tethered to a specific moment over a specific timeline, has impeccable sets, sound design, costuming and lighting, plus actors that seem to truly enjoy sinking further into their craft.

“Primetime” from A24 is in cinemas Sept. 25.