First-time director Lance Oppenheim’s new film “Primetime” dives headfirst into a morally murky true story, presenting an unsettling look at how former NBC journalist Chris Hansen’s tactics blurred the lines between justice and exploitation. The film is built around the real-life events chronicled by Luke Dittrich in his “Esquire” article, “Tonight on Dateline This Man Will Die,” exposing Hansen’s controversial methods of luring sexual predators on his show.
Robert Pattinson stars as Hansen, delivering a performance that goes beyond mere impersonation. While the character’s mannerisms and speech are recognizable, Pattinson injects a complexity that makes Hansen’s ambition, ruthlessness, and questionable motives feel eerily real. This complicates what might have been a straightforward biopic, instead forcing viewers to wrestle with how far one can go “for the greater good.”
Merritt Wever also stands out as Hansen’s producer, navigating a role that’s as much about charm as it is about professional cutthroat instinct. Her presence helps round out the story, showing the network pressures and power struggles behind these headline-grabbing sting operations.
“Primetime” unfolds with the tension of a thriller but carries an “ick factor” that sticks with you. It’s hard not to feel uncomfortable watching a show that exploits predatory behavior, even if it’s to catch and shame offenders. What adds to the discomfort is the film’s framing: it showcases how Hansen’s public crusade was as much about advancing his own career and network ratings as it was about “exposing evil.” The film steers clear of simple heroism or villainy, instead forcing audiences to grapple with a toxic mix of good intentions and self-interest.
The script, penned by Ajon Singh, gives ample room to examine both sides of the equation. The stakes for all involved—the predators, Hansen, the network, and the viewers—are high. It’s a story about power dynamics, ethical compromise, and media spectacle. Oppenheim’s directing keeps the narrative compact and compelling, even if some scenes verge on sensationalizing the very scenarios they critique.
For NWA filmgoers familiar with the growing appetite for fact-based storytelling on streaming and at local theaters, Primetime offers more than just true crime entertainment. It holds up a mirror to the very real consequences of sensational journalism and the price paid by those caught in its crossfire. The film’s uncomfortable honesty is its strength.
Those curious about the local arts scene might find it worthwhile to see how Northwest Arkansas continues to engage with contemporary film trends that provoke thought rather than just entertain. While Primetime may not be the feel-good film for a night out in Fayetteville, its conversation about ethics and media power is timely.
For a sharper look at how media shapes public perception and the dangers of moral certainty, Primetime serves as a potent, if sometimes difficult, cinematic experience. It’s a story that cuts through the usual gloss to reveal the grit beneath the spotlight—a reminder that in the chase for truth, the lines don’t always stay clear.
Source: Fayetteville Flyer