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Transparency item: A review provides an informed and opinionated critique. These informed critiques are published to make a recommendation to readers. This review is the opinion of the writer.
It’s hard to know what to expect going into “Primetime.” The trailer — along with public reception of the film — may lead some to believe the film introduces moral ambiguity to those that catch society’s worst.
Chris Hansen, Dateline NBC legend and protagonist of the film, hates “Primetime,” according to Deadline.
“He’s saying things I never said and doing things I never did and that’s not who I am,” Hansen said regarding Robert Pattinson‘s performance, according to Entertainment Weekly.
Conversely, critics and general audiences review the film favorably, according to Rotten Tomatoes.
So, How Good is “Primetime?”
Primetime bursts out of the gate punchy, colorful and ripe with awkward tension. The film immediately sells its early 2000s locale with new millennium aesthetics and believable set design.
One of the strongest aspects of “Primetime” is the visual appeal. Cinematographer David Bolen uses a diversified palette ranging from neons to darks, elevating the impact of each scene’s mood.
During the famed sting operations, the viewers’ perspective alternates between the offender’s point of view and a third-person point of view — with Hansen. This leaves viewers feeling grounded in the shock and terror felt by the offenders.
Pattinson’s prolific 2026 schedule is both affirmed and uplifted with his role as Hansen.
He is impressive, spanning from charming to menacing. Though in moments, the performance drifts into impersonation. Elements of the real Hansen are exaggerated, even likely fictionalized, as is the surrounding film he exists in.
Macbethian tales of men lost in grandeur or sensationalism are no stranger to the silver screen — Marty Supreme and Nightcrawler to name a few — but Hansen’s conflicts and complexes are sufficient to not render the character cliché. No doubt “Primetime’s” Hansen has true anti-pedophilic convictions; the question is if those take precedence over his desire to have the premier program on TV.
Skyler Gisondo and Meritt Weaver’s performances as Dan Plum and Andie Bender respectively round out the quality of the lead cast. Both characters have their own fleshed out desires and conflicts uniquely their own, while their livelihood is constantly trivialized in Hansen’s sphere of influence. This dynamic serves as the engine behind the film’s power-trio.
These three are a well-directed set of stars.
Perhaps the sweltering start of “Primetime” is its ultimate flaw. The first act and midway through the second act is some of the more compelling and provocative mainstream cinema of the year; Dan’s impromptu foray into his role as the decoy is both uncomfortable and disgusting, but in the way that makes it challenging to avert one’s eyes.
A majority of “Primetime’s” most contemplative commentary is frontloaded. Hansen’s airplane chat with Creed Bratton is a thoughtful point that offers difficult questions to the audience: What should be done with the most sinister offenders? What degree of punishment do they deserve?
If one came into a viewing of “Primetime” expecting a scathing critique of the systems that protect child predators, prepare to be underwhelmed.
Though it wrapped filming in late March 2025, according to NewsBreak, any movie that does not handle systemic protections in the post-Epstein files era feels thematically hollow.
This deficiency becomes more glaring when considering just how close the film came. The most elusive and lucrative predator catch in the film is a well-liked district attorney, mirroring a real catch from November 2006. It’s established he’s slippery to catch, but that’s about all.
Quite frankly, “Primetime” doesn’t live up to the promise of the first act. The opening sting, Decoy Dan’s debut, Hansen’s troubled home life — the film may have shown its most captivating cards too early.
This is not to say that the middle-to-end are without highlights. The evil that can wear any face motif is a skillful representation of both human depravity and the evidence of Hansen’s earnest convictions. Though, this thematic element could have been more evenly spread throughout the runtime.
The dynamic between Hansen and Dan is another strong point. Through their relationship, the audience may notice the emergence of Hansen’s own coercive characteristics. The wide-eyed naivety of Dan makes their relationship all too reminiscent of those that their show condemns.
The ending of “Primetime” is where audiences may be left head scratching. The final scene is candidly weak. A film such as this demands a more powerful or provocative note to leave off on. Dan receiving a SAG AFTRA membership card as compensation for his demeaning work ties up his arc, but does not carry the full weight of an ending.
A quality film, yet unlikely to top many year-end lists, “Primetime” is a visually stunning and well-acted final picture for a story that could have spent a bit more time in the writer’s room.
This story was copy edited by Haylie Ross.
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Contact Riley McGeehon via email: riley.mcgeehon@pepperdine.edu