For years, audiences considered Chris Hansen as something like a real-life super hero.
In each episode of his 2004 show “To Catch A Predator,” Hansen lured child predators to suburban homes before confronting them for speaking to minors and turning them over to the police. The concept became a hit on national television, earning Hansen respect and media praise.
But that didn’t last – some began to criticize the show and its methods. This criticism only grew louder when a suspect committed suicide while Hansen’s team was closing in.
Now, A24’s new film “Primetime,” released Sept. 25, seeks to look behind the curtain at Hansen himself.
While the movie is inspired by true events, A24 took liberties and invented some plot points, such as making a reporter harass Hansen. Before its release, many people on social media worried the movie would villainize Hansen, showing him as a money hungry and views obsessed man. Others feared it would be too glowing, casting the host as a hero.
But after watching, I feel confident in saying the film balances its portrayal of Hansen, casting him as neither a villain nor hero but rather a complex person who tries to do what he believes is right, even if his methods are sometimes questionable.
The movie follows Chris Hansen (Robert Pattinson) as he and the crew of “To Catch a Predator” work to lure and confront potential child molestors.
In the opening scene, a decoy house appears to lie empty, awaiting the predator. We meet Hansen for the first time once the predator enters the house, and the decoy, an adult actor posing as a child, leaves the room. Hansen then confronts the predator, reading the sexually explicit messages he sent to who they believed was a child, and informs them of who he is.
During this moment it is hard to view Hansen as either a villain or a hero given the circumstances. Although he prevented the predator from meeting up with an actual child, he did technically intervene with the law by catching the predator himself rather than handing the evidence over directly to law enforcement, seemingly wanting the glory for himself.
The line becomes increasingly blurred when Hansen smiles at the predator crying and being taken down by police. Despite seeing Hansen find joy in someone suffering, I think the point of the scene is a man who set out with a goal — to catch a predator — and did just that, now proud of his own success.
Shortly after this encounter, we meet Dan Plumb (Skyler Gisondo), who is auditioning to be a decoy. Plumb’s first experience on set for the show is disastrous, as he arrives late and must take on his role with no time to prepare. Producer Andie Bender (Merritt Wever), believing Plumb will not want to return to the show, convinces Hansen to speak to him. Despite Hansen’s hesitance, he relents and seems to build a bond with the actor. I felt like this connection humanized Hansen by depicting him as a mentor figure to Plumb. This is important because it shows that Hansen cares about his show, but also his relationships with his crewmembers.
One of my favorite aspects of the film is that the story goes beyond the “To Catch a Predator” plot and creation to delve into Hansen’s relationships and personal life. In the film, we discover that Hansen’s home life is crumbling due to his devotion to his show. He also has a mistress, who reporters threaten to expose.
Lance Oppenheim, the director of “Primetime,” did a great job dramatizing this threat by having reporters call him multiple times, which causes Hansen to spiral into paranoia.
While I could see the argument that Hansen cheating on his wife makes him a villain, I’d also argue that Hansen’s attempts to fix things by promising her that he would make things right somewhat redeem him. While it is morally reprehensible, cheating on your wife does not make you a villain.
In truth, this film showcases Hansen’s humanity and the fallibility of humans by depicting his passions while inevitably showing his sins and personal mistakes. Hansen cheating but regretting it is a perfect example of just how well the movie captures Hansen’s complexity as a person.
For those genuinely interested in learning more about Hansen and “To Catch A Predator,” I would not necessarily recommend the movie; it departs too much from the facts of Hansen’s life. Those intent on letting the film decide whether they should see Hansen as either villain or hero should also skip out. However, if you are interested in a movie with complex, morally-grey characters, then this movie is perfect for you.
