Entertainment
Robert Pattinson Officially Delivers His Best Performance in ‘Primetime’
“There used to be a pillory in every town. Now there’s a television in every home.” The line, delivered by Robert Pattinson’s Chris Hansen near the end of Primetime, is as close as you’ll get to a thesis statement from the film. Primetime is a deep dive into the 2000s TV phenomenon To Catch a Predator, exploring the controversial program at its peak while examining themes of vigilante justice and true crime as entertainment, delivering its thoughts with an effortless blend of dark comedy and psychological thriller.
Though it’s director Lance Oppenheim’s first narrative feature, one can’t imagine a better fit between director and material: His extensive experience in the documentary space — having helmed stories about everything from Florida retirement communities to the upcoming Elizabeth Holmes documentary alongside Nathan Fielder — makes him especially suited to take on an untraditional portrait of an enigmatic egomaniac such as Hansen. The same can be said for Pattinson, whose resume has recently been filled with experimental, larger-than-life roles. Together, the two deliver one of the most unusual and unique films of the year.
What is ‘Primetime’ About?
Primetime doesn’t just center on Hansen’s story, however. In fact, things don’t really get started until we meet Dan Plumb (Skyler Gisondo) as he prepares to audition to play one of the decoy actors the show uses to trap pedophiles. With a young, boyish look, innate earnestness and naivety, and the ability to pitch his voice higher than his natural tone, producer Andie Bender (Merritt Wever) proclaims him a perfect fit and throws him to the wolves. Though he immediately thrives in the abnormal environment, the lack of appropriate support and preparation takes a toll, and he struggles both emotionally and morally.
Meanwhile, Hansen and Bender are having struggles of their own. With their ratings through the roof, NBC decides to move the show to a primetime slot, pitting them up against stiff competition like ABC’s Lost. It’s a big win for the show, but the pressure to grow its profile by catching more shocking, influential predators sows discord within the production team. Hansen’s personal life is also hanging on by a thread, with his wife (Anna Faris) frustrated by his absence and infidelity. While this is the weakest, least compelling thread of the film, it does contribute to his deteriorating state of mind.
‘Primetime’ Features Some of the Year’s Greatest Performances
Between The Drama and The Odyssey, Pattinson has given some incredible performances in 2026 alone, but Primetime is arguably his best — not just of this year, but of his entire career. Yes, some of his choices and deliveries are incredibly memeable, but it never feels like he’s hamming it up purely for the purposes of internet virality, or even comedy. Hansen takes himself incredibly seriously, believing his own hype as a hero and crusader, and Pattinson takes him seriously, too, which ultimately exposes how unhinged and frankly pathetic he is at his core. His choices — while unpredictable and bizarre — are authentic to the character he’s created and fit into the heightened world Oppenheim crafts. He fully commits to each massive swing and, as a result, disappears into the over-the-top personality.
Gisondo is equally terrific; in many ways, it’s really his movie, as he acts as the heart, soul, and conscience of the story. His subtle performance is the perfect foil to Pattinson’s domineering presence, and his vulnerability and unflinching optimism make him impossible not to root for. He’s a fish out of water swimming with the sharks, from the predators he’s been hired to trap to the opportunistic producers who care more about ratings than protecting him. One can’t help but get the sense that he’s a victim of it all as well.
Phoebe Bridgers impresses in her first acting role, playing a fellow decoy — though one who’s part of the show because she believes in the cause, not because she has acting aspirations. We see her play both an underage girl and boy, luring pedophiles to meet her, and she sells each part thoroughly and plays off Gisondo especially well. It’s a solid debut performance — one that suggests more prestige projects could easily be in her future if she so chooses.
Wever has the unique ability to make any project she’s involved in better just by showing up, and Primetime is no different. She’s a silent killer, often using her naturally soft, soothing voice and reassuring, maternal presence to cunningly manipulate whoever she needs to in order to get the job done. She is, perhaps, the film’s most cutthroat and ethically shady character when you truly get down to it, but Wever infuses her with a depth that makes her anything but a straightforward villain. She’s addicted to the brand of chaos that Hansen and the show provide, choosing it even when there are healthier, more stable options handed to her on a silver platter. Someone needs to call her up for the inevitable UnREAL revival — she’d be right at home in that show.
‘Primetime’ Is a Fever Dream You Won’t Want to Wake Up From
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Robert Pattinson as Chris Hansen in Primetime Image via A24 -
In an age of flat, dark lighting and washed-out coloring, Primetime is a sight for sore eyes, leaning into intense practical lighting and saturation. During a Q&A at the Los Angeles premiere, Oppenheim revealed that they used around 25 different cameras — an impressive number, though not a surprising one. From grainy security and videocamera-like footage to surrealist sequences, there are several distinct looks editor Daniel Garber seamlessly combines to make a moving collage of a film. It frequently feels like a fever dream, though one that’s so riveting you won’t want to wake up from it. The film drags a little going into the third act, but it’s still interesting enough to justify its inclusion and ultimately sticks the landing.
The music, too, is a hodgepodge of genres and styles. From period-appropriate needle drops to Ari Balouzian’s score that combines smooth, nostalgic jazz and heart-pounding, borderline dissonant percussion, the sound acts as both a tone poem and a guiding force leading us through the film’s sharp shifts and turns. The film is more of a highly immersive experience than a simple watch, and the music plays a major role in elevating it to something truly one-of-a-kind. Alex DiGerlando’s production design and Alex Bovaird’s costuming deserve a shout out as well for skillfully capturing the essence and look of 2006 in every set and outfit choice.
From excellent performances across the board to phenomenal craftsmanship on set and clever work in post-production, Primetime is a film that fires on all cylinders. It’ll make you laugh, squirm, and think, all at the same time. With his debut narrative feature, Oppenheim proves that his talent extends beyond the documentary space and that his singular voice and vision are worth investing in. I, for one, am thankful we only have to wait a few weeks to see his follow-up project in the form of You Can See Everything.
- Release Date
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September 25, 2026
- Runtime
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110 minutes
- Director
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Lance Oppenheim
- Writers
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Ajon Singh
- Producers
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Ari Aster, Brian Kavanaugh-Jones, Brighton McCloskey, Fred Berger, Lars Knudsen, Robert Pattinson, William Iannaccone
- Robert Pattinson gives one of the best performances of his career, with Skyler Gisondo and Merritt Wever pitch-perfect as well.
- The direction, editing, and score work together to create a singular, extraordinary viewing experience.
- The production and costume design immerse viewers in the setting and time period.
- Hansen’s family drama is less compelling than other plotlines.
- The pacing is a little sluggish going into the third act.
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