Running Time: 110 minutes
This feature film from A24 opens exclusively in cinemas on September 25th, 2026.
Many out there will likely be familiar with the show Dateline NBC, which began in 1992 as a news magazine show before slowly changing its format to focus on true crime. In 2004, It also spawned a spin-off series called To Catch a Predator, which involved recording sting operations on pedophiles, before the program was cancelled in 2008. The new biographical drama Primetime focuses on the show’s creator and host, television journalist Chris Hansen. It details how the series was produced, and delves into the questionable moral and ethical decisions made by those behind the scenes.
The story begins with Hansen (Robert Pattinson) desperate to make television history by catching the perpetrators of horrific crimes. He’s also determined to make sure he’s a part of the process, hiring adult actors to portray teens who invite pedophiles to a house, and then leaping out with cameras to condemn their acts and film their arrests. Executives and journalists at NBC find his approach distasteful, but he and producer Andie Bender (Merritt Wever) immediately earn big ratings and attention from the public. Despite the success, Hansen is portrayed as deeply flawed, ignoring his family, taking part in an affair, and prioritizing targets with a high public profile in order to establish himself as a star. Tension arises within his group, as well as recent acting school grad and new employee Dan Plumb (Skyler Gisondo). Plumb just wants to earn onscreen credit to get into ACTRA (the union for screen performers), but the pressure of interacting with pedophiles causes its own form of psychological trauma.
This film takes great pains to make it feel like we’re watching authentic television news shoots, placing the characters in live settings as the stings occur, as well as more traditional but still somewhat raw images of them behind-the-scenes. It’s not a pretty look for the movie, but it is very appropriate given the seediness of what is occurring. As for the subject matter, the film couldn’t be more unsettling and such a tale would normally be difficult to endure. But early sections manage to interject grim humor into the proceedings, as Hansen and his team decide on targets, prep their sting operations, and interject themselves into arrests with the subtlety of a sledgehammer.
The acting is also stellar, especially considering how few likable characters are in the movie. Obviously, the targets are predators with serious psychological issues and no impulse control, but one or two performances late in the story elicit a degree of humanity. And the leads shine, with Pattinson veering seamlessly between crusader and opportunist, slowly suffering a breakdown over a potential scandal that would thwart his efforts to become famous. Wever, who handles the producer, is ice cold and calculating, while beginning showing doubts about working with the increasingly erratic Hansen. Gisondo also makes an impression as “Decoy Dan”, an actor who finds himself witnessing real and shocking acts directed at him by targets. One can easily see the trauma being inflicted on Dan, in addition to the pressure being placed on him to perform. This title is unique in showing how many unheralded crew members can suffer under the show’s unusual conditions.
It’s all compelling to witness, leading to a major operation that results in life-changing consequences for all involved. Interestingly, it even subtly points the finger at all of us as viewers. We see a fan who enjoys Hansen’s show and details violent fantasies about slaying criminals. And you witness the characters strive to create highly dramatized scenarios around serious and very real crimes without the consideration of anyone involved. It’s all captured simply to garner ratings and serve as “entertainment” for the masses. The movie makes a strong impression in this respect, and it should certainly give any viewer pause for thought.
Despite the potential to be an ordinary look into the making of shows like Dateline and To Catch a Predator, this picture stands out. It can be a tough go and one should be ready for its pointed and critical observations (which may bother and upset some viewers). But in this reviewer’s opinion, Primetime earns those comments with its sharp and cutting edge, strong narrative, powerful performances, and excellent direction. It’s definitely a prime biopic that lingers in the brain.
