Written by Ananya Panchal, David Sikarevich, and Jax Warner. Graphic by Alice Stockli.
In this compilation review, contributors Ananya, David, and Jax give their review on A24’s film based on one of America’s most controversial reality TV phenomenons: “To Catch a Predator.”
Ananya’s Take
Chris Hansen is kind of a meme. Despite the extremely dark subject matter of his early 2000s show “To Catch a Predator,” the uncomfortable premise often created an absurd humor alongside the satisfaction of seeing injustice confronted. The show is centered around catching predators who try to meet underage children through online chats. It followed a clear format: the predator would be lured to a location filled with hidden cameras. While waiting in anticipation to meet their victim, Chris Hansen would intervene, publicly confront the culprit on television, and hand the situation over to law enforcement.
You’d probably think, then, that a movie about Hansen would be a positive portrayal, but “Primetime” takes a more nuanced approach. In many ways, the movie is about Hansen falling into the trope of “the obsessed artist” and what it means when the subject of his hyper-fixation is the dark, perverted world of online predators. The depiction of Hansen isn’t necessarily the most accurate; the movie creates an exaggerated version of the host to explore ideas of exploitation for entertainment.
In the movie, Hansen sees himself as a “savior from evil.” This perception is evident through his constant pursuit of “the whale,” a predator of significant power–someone who embodies the prevailing hypocrisy and injustice within powerful systems. This chase is at the core of the third act of the movie and drives him to insanity. It prompts us to question whether justice is the sole motivator behind the catch. Are there underlying factors driving Hansen’s obsession–greed, fame, or a sense of self-importance?
“Primetime” also explores the idea that “To Catch a Predator” created a “theater of punishment.” Lance Oppenheim, the director of “Primetime,” referred to the show as “stranger than fiction,” noting the absurdity of a real crime mixing with staged elements. The sinister situation, combined with Chris Hansen’s unknowingly funny one-liners, creates an uncomfortable juxtaposition. What should the audience’s perception of the show be? How do you define it? This is when you realize the morally dubious nature of this format. That’s what “Primetime” expertly dissects.
David’s Take
“Primetime” is sitting at a 7.2/10 on IMDb, an 86% critics’ score on Rotten Tomatoes, and a 79% audience score. You see how this looks, right?
The show is a dramatized retelling of the rise to national fame and eventual downfall of the show “To Catch a Predator.” First, I should state my opinion. As a standalone experience, the film is great. The cinematography is fantastic, and the shots add to the story being presented. The acting is phenomenal, especially Robert Pattinson’s performance as Chris Hansen and Skyler Gisondo as Dan Plum. These two performances make the film an extremely enjoyable watch.
Now, what’s wrong with the film? Everything else.
The story, while dramatized from real events, strays too far into fiction. I feel that using the names of real people and recreating real situations while heavily altering what actually happened feels disingenuous to the real events. As someone familiar with the real story behind Hansen and To Catch a Predator’s most infamous sting, I don’t think the film does reality justice.
One issue I have with “Primetime’s” Hansen is his over-the-top mannerisms. He doesn’t feel like the real Hansen. I expected to see Chris Hansen, not a character using his name and voice.
Though I actually like “Primetime’s” Hansen as a fictional character. He represents a righteous cause that gradually enters morally gray territory when you try to sell that cause as television. As a character, I think he works. As a portrayal of Hansen, however, I find him subpar. Even though the film isn’t claiming to be a biopic, it was always in the back of my mind that this wasn’t really Hansen despite using his name.
The film ends by asking the audience a question: Is sensationalizing the depravity of humanity harmful to society? I’m not here to answer that. That’s the point of watching the movie for yourself, and for that reason alone, I can wholeheartedly recommend it. Just make sure to keep an open mind while watching so you can appreciate the nuance of the story being presented.
I also highly recommend watching the 2025 documentary “Predators” before watching “Primetime.” It gives you insight into the reality behind the film and may help you appreciate it more, or perhaps like it less.
If you like “To Catch a Predator,” Chris Hansen, or if you are familiar with the story at all, this film will be especially interesting. If you have no clue about any of this, it’s still a good film and an interesting piece of art on its own. Either way, you have nothing to lose by seeing the movie.
Jax’s Take
“Primetime” takes the familiar world of “To Catch a Predator” and turns it into something much more unsettling. Rather than simply recreating the show, the film becomes a psychological thriller about performance, voyeurism, and what happens when morality itself becomes entertainment.
Robert Pattinson’s portrayal of Chris Hansen is especially effective because he never feels like he is doing an impression. He captures Hansen’s recognizable mannerisms, cadence, and controlled demeanor, particularly in the way he maintains a calm, almost rehearsed delivery while confronting the men he has caught. Pattinson also captures the subtle moments of discomfort and disbelief beneath that composure, which keeps the performance from becoming a caricature. The other performances work similarly, using small gestures, changes in tone, and awkward pauses to make the characters feel like real people rather than exaggerated versions of their real-life counterparts. These details make the fictionalized story feel uncomfortably close to reality because the performances are grounded in behavior rather than simply recreating familiar faces.
The film’s camera does much of the same work. Its framing and arthouse visual style make the audience feel like they are being watched as much as they are watching. The colors and cinematography are striking, but the movie never lets those visuals make the subject matter feel glamorous. Instead, they pull you deeper into an increasingly uncomfortable world. The sound design is just as effective, particularly in the quieter conversations, where the absence of noise can become more unsettling than anything happening on screen.
There are moments of humor, but “Primetime” never allows them to completely relieve the tension. Its most interesting ideas come from sitting in that discomfort and asking why we are so willing to watch other people’s worst moments. The film’s focus on “righteousness for ratings,” deception, and online performance feels particularly relevant in a culture where almost anything can become content.
I was less convinced by the ending, which felt like it pushed the film further than it needed to go. I would have preferred it to end with Pattinson simply staring and muttering, leaving the audiences in that uncomfortable uncertainty. Still, “Primetime” is at its best when it refuses to give an easy answer. It turns a familiar piece of internet and television culture into something stranger, quieter, and much harder to look away from.
