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Primetime
A24 A24
Icki Eneo Arlo Icki Eneo Arlo
Range Media Partners Range Media Partners
Square Peg Square Peg
To Be Formed To Be Formed

Not part of a collection.

Primetime

Are you ready to make television history?

2026 • 110 min • ★ 0.0 (0) • Released
Crime Drama Thriller

In 2006, To Catch a Predator host Chris Hansen sets out to make television history.

Original title
Primetime
Language
EN
Country
US
Budget
—
Revenue
—
Reviews & Ratings 3
GenerationofSwine

GenerationofSwine

Oct 4, 2026 · via TMDB

★ 1.0

What I learned from Primetime is that catching child predators is "right wing" and "egotistical" and "bad." Which about sums up why all the heavily leftwing political injections makes movies suck. Sort of lost the plot when you spend an entire movie making the point that the dude who was CATCHING CHILD PREDATORS was WORSE than the actual child predators. Seriously, Hollywood, you lost the plot and we don't think you're ever going to find it again.

B

Brent Marchant

Oct 1, 2026 · via TMDB

★ 8.0

It’s been said that we often become what we concentrate upon. That’s ironic, because frequently this results in the creation of that which we’re purposely trying to avoid. And, in this third feature outing from director Lance Oppenheim, that’s precisely what happens to its high-profile protagonist, investigative journalist Chris Hansen (Robert Pattinson). In this fact-based satire, the film follows the ascendancy of the reporter on the tabloid TV series *Dateline NBC*, specifically through his work on the show’s *To Catch a Predator* segment (2004-2007) in which he covered stories designed to expose the exploits of pedophiles. Working in conjunction with the website Perverted-Justice, Hansen, his producer (Merritt Wever), and a pair of predator bait decoy actors (Skyler Gisondo, Phoebe Bridgers) orchestrated sting operations aimed at capturing their unsuspecting prey in the act on camera. While it’s undeniable that the intentions with this mission were fundamentally noble, their on-air depictions increasingly took on a vibe of sensationalism, blurring the line between journalism and entertainment. And, as Hansen’s star rose, he relished the personal notoriety and ratings popularity that came with his efforts. However, as the film postulates, his increasingly aggressive reporting tactics and quest for professional glory suggest that he was becoming as much of a predator on the alleged perpetrators as they were on their would-be victims. It might even be said that the methods employed verged on a form of entrapment, an approach that carried significantly murky and curiously ironic consequences. Now, this is not to suggest that Hansen was becoming a sexual predator himself, but, in donning the cloak of self-appointed activist, his personal authenticity was called into question as he became the target of undercover surveillance for a supposed extramarital affair that was threatened to be exposed by *The National Enquirer*. If the foregoing combination of elements sounds like the makings of a cinematic tall tale, you might indeed be correct. Circumstances like those depicted in the film naturally raise questions about the picture’s factual accuracy (Hansen himself has publicly and vocally proclaimed that “Primetme” paints him in an unfairly erroneous light). Moreover, on this basis, this is a picture that won’t appeal to everyone and will likely inspire more than its share of heated debate. However, the purposeful over-the-top approach used here is designed for dramatic effect to reflect the aforementioned question about the blurred lines between journalism and entertainment and the loaded theme of predator chasing predator. And, in doing so, the narrative is not meant to be taken as literal truth as much as it is to be looked upon as a metaphor, a satirical psychological thriller using real-life events and characters as the basis for illustrating its particular viewpoints. This becomes especially apparent through this offering’s insightful script, which deftly fuses wry humor, incisive camp and tense drama to tell its story, quite a writing feat to pull off successfully. In addition, the picture’s superb performances (especially by Pattinson, Gisondo and Bridgers), inventive cinematography and editing, and outstanding original score enhance the story and its various components, combining in a singularly distinctive way suitable for a production with as many diverse elements as are present here. Although this release has a tendency to meander at times, it generally remains faithful to its intents in telling a story with messages and ramifications that go beyond the individual events that make it up – important considerations for all of us to keep in mind in our efforts to create that which we seek and to meticulously avoid that which we don’t.

TheFilmCritics.org

TheFilmCritics.org

Sep 26, 2026 · via TMDB

★ 4.0

A true-crime story this inherently bizarre should not require much embellishment, yet *Primetime* spends so much energy dressing itself up that the actual story gets buried underneath the filmmaking. What could have been a sharp, uncomfortable examination of television, celebrity, and the ethics of true crime instead becomes a frustratingly uneven film that mistakes stylistic excess for substance. Robert Pattinson gives a pretty good performance as Chris Hansen, bringing enough conviction to make the central figure compelling even when the screenplay does not. The supporting cast is strong as well. Skyler Gisondo makes an impression as the adult decoy pretending to be an underage boy, while Merritt Wever brings welcome dimension as the show’s producer. There are also genuinely interesting ideas scattered throughout the film, particularly in its examination of how media can commoditize real human suffering into entertainment. The problem is that *Primetime* rarely develops its ideas into a cohesive story. It often feels less like a narrative and more like a collection of scenes placed next to one another. The result makes it difficult for viewers to become invested in what is happening or, more importantly, in the characters involved. Its aesthetic ambitions are particularly exhausting. The fuzzy mid-2000s look is clearly deliberate, and there is nothing wrong with leaning into the visual language of the period. Here, though, the music, lighting, camera angles, and visual flourishes are pushed so aggressively that the movie starts announcing its artistry rather than letting it emerge naturally. There is a compelling story underneath all the smoke and mirrors, which makes the constant insistence on style feel less like enrichment and more like distraction. The heavier issue is how much the film dramatizes real events and real people. Using real names and identities while taking substantial creative liberties creates an uncomfortable disconnect, particularly in the portrayal of Hansen himself. The film's portrayal of real-life subjects can make some of its choices feel less like artistic interpretation and more like borderline defamation. Hansen himself has publicly criticized the film, which only makes the question of how responsibly it treats people difficult to ignore. You see how this looks, right? There are also moments where the dramatization crosses into genuinely uncomfortable territory. The film’s treatment of SA and mental health issues can feel glib and insensitive. For example, the portrayal of the true story of a man who unalived himself while caught in the *To Catch A Predator* investigations is difficult to digest. That was a real human being who faced a genuinely tragic ending, **not** merely a fictional plot device, and the lack of respect taken toward a serious subject matter invites questions that the movie does not seem particularly interested in answering. Additionally, the creative choice to make the main decoy exclusively male feels conspicuously constructed. The primarily male-on-male encounters feel unrealistic, existing solely to insert the male decoy into the story as a main character. That is unfortunate because beneath the excess is a worthwhile film trying to get out. *Primetime* has something meaningful to say about the ethics of true-crime entertainment, the machinery of television, and the uncomfortable relationship between public spectacle and private suffering. But its lack of nuance turns complicated questions into an overly tidy division between good guys and bad guys. The satire gets lost in the dramatization, and the film's strongest observations are repeatedly smothered by its need to make everything bigger, darker, and more cinematic. Ultimately, *Primetime* is a case of flash over substance. Pattinson and the supporting cast do solid work, and there are enough provocative ideas here to make the film worth discussing, but the execution repeatedly gets in its own way. When the real story is already compelling, inventing so much around it feels unnecessary—and, in some cases, ethically questionable.

User reviews courtesy of TMDB.

Keywords 10
2000s based on magazine, newspaper or article based on true story confrontation hidden camera journalism network online predator sting operation television
Cast 65
Robert Pattinson

Robert Pattinson

Chris Hansen

Merritt Wever

Merritt Wever

Andie Bender

Skyler Gisondo

Skyler Gisondo

Dan Plumb

Phoebe Bridgers

Phoebe Bridgers

Del

Matthew Maher

Matthew Maher

Xavier Von Erck

Matthew Maher

Matthew Maher

Xavier Von Erck

Bokeem Woodbine

Bokeem Woodbine

Cortland Gunn

Bokeem Woodbine

Bokeem Woodbine

Cortland Gunn

Michael Chachere

Michael Chachere

Michael Chachere

Anna Faris

Anna Faris

Mary Joan Hansen

Alex Winter

Alex Winter

Bill Conradt

Eric Rahill

Eric Rahill

—

Tony Revolori

Tony Revolori

MarriedAndLookingForFun31313

Creed Bratton

Creed Bratton

—

Jonathan Lipnicki

Jonathan Lipnicki

Predator (Crazyfrog73)

Bob Ari

Bob Ari

RedBd

Jonathan Lipnicki

Jonathan Lipnicki

Crazyfrog73

Alex Winter

Alex Winter

Bill Conradt

Matt Smith

Matt Smith

WrestlingDudeEastTX

Sean Bridgers

Sean Bridgers

—

Anna Faris

Anna Faris

Mary Hansen

Tony Revolori

Tony Revolori

Rolando Restocruz (MarriedAndLookingForFun31313)

Jessica Blackmore

Jessica Blackmore

Gail

Sue-Lynn Ansari

Sue-Lynn Ansari

Studio Executive

Bob Ari

Bob Ari

Red BD / Rabbi

Sean Bridgers

Sean Bridgers

Lloyd

Mike Harkins

Mike Harkins

Editor

Jessica Hecht

Jessica Hecht

Patty Patterson

Eric Rahill

Eric Rahill

Troy

Ja'Quan Monroe-Henderson

Ja'Quan Monroe-Henderson

—

Bill Heck

Bill Heck

Stone Phillips

Jessica Hecht

Jessica Hecht

—

Jessica Blackmore

Jessica Blackmore

Gail

Lacey Dover

Lacey Dover

—

Creed Bratton

Creed Bratton

Jim Christian

Ed Malone

Ed Malone

Predator 3

Mike Harkins

Mike Harkins

Editor

Caroline Hebert

Caroline Hebert

—

April Alsbury

April Alsbury

Juror

Daniel Garber

Daniel Garber

Associate Editor

Christopher Berry

Christopher Berry

Cameraperson 1

Chad Governale

Chad Governale

FBI Agent Kelly

Ja'Quan Monroe-Henderson

Ja'Quan Monroe-Henderson

Cameraperson 2

David Rosenberg

David Rosenberg

Sound Mixer

Rob Eubanks

Rob Eubanks

Deputy Gore

Trey Burvant

Trey Burvant

Gator

Stanley White Jr.

Stanley White Jr.

Wolf Man

Caroline Hebert

Caroline Hebert

Krystin

Ty Johnson

Ty Johnson

Police Officer

Ernest Marsh

Ernest Marsh

Police Officer

Adam Bhala Lough

Adam Bhala Lough

Officer Crock

Rob Eubanks

Rob Eubanks

Bathroom Officer

Owen Campbell

Owen Campbell

Matt the Waiter

Michael Chachere

Michael Chachere

Michael Chachere

Jon Bass

Jon Bass

Richie, Dan's Neighbor

Trey Burvant

Trey Burvant

Gator

Caveh Zahedi

Caveh Zahedi

Wow_U_Like_Pot

David Fierro

David Fierro

raysfan22

Ed Malone

Ed Malone

nextbestfriend_14

Victor Brunette

Victor Brunette

Frag

David Pridemore

David Pridemore

georgepitansky_9008

Charles Schneider

Charles Schneider

cool_guy5

Christian Vazquez

Christian Vazquez

xbeachdude

Jason Woliner

Jason Woliner

800lord_12

Eugene Kotlyarenko

Eugene Kotlyarenko

pureparticles40

Crew 19
Teddy Blanks

Teddy Blanks

Title Designer

Caelan Wolfe

Caelan Wolfe

Stand In

Daniel Goldhaber

Daniel Goldhaber

Thanks

Lance Oppenheim

Lance Oppenheim

Director

Daniel Garber

Daniel Garber

Editor

Francine Maisler

Francine Maisler

Casting

Ajon Singh

Ajon Singh

Executive Producer

Lance Oppenheim

Lance Oppenheim

Executive Producer

Tyler Hohmann

Tyler Hohmann

Location Manager

Ari Aster

Ari Aster

Producer

Brian Kavanaugh-Jones

Brian Kavanaugh-Jones

Producer

Fred Berger

Fred Berger

Producer

Lars Knudsen

Lars Knudsen

Producer

Robert Pattinson

Robert Pattinson

Producer

Ari Balouzian

Ari Balouzian

Original Music Composer

Chris Welcker

Chris Welcker

Production Sound Mixer

Jack Antonoff

Jack Antonoff

Songs

Phoebe Bridgers

Phoebe Bridgers

Songs

Ajon Singh

Ajon Singh

Writer

Gallery 156
Videos 4
Similar Movies 634
Recommended 53
US Release Dates 2

Sep 23, 2026

Beyond Fest

Premiere

Sep 25, 2026

R Theatrical

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Giraffe Soup

Giraffe Soup

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VS
Huldra: Lady of the Forest

Huldra: Lady of the Forest

2016

Sign in to vote

Battle your watched movies head-to-head

Community Top Movies

🥇 Evil Dead II

Evil Dead II

1987 · 14 wins

🥈 The Dark Knight

The Dark Knight

2008 · 14 wins

🥉 Halloween

Halloween

1978 · 13 wins

#4 Final Destination

Final Destination

2000 · 12 wins

#5 Halloween II

Halloween II

1981 · 11 wins

Sign in to build your own ranking
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0/0 Correct
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Movie Trivia

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What movie experience do you prefer?

Movie theater — theater popcorn with Icee/soda & maybe nachos 60%
At home — relaxed on your favorite couch or chair with whatever drinks & snacks are in the kitchen 40%
5 votes

What is your favorite movie genre?

Action 50%
Adventure 0%
Animation 0%
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Crime 0%
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Family 0%
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Horror 50%
Music 0%
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