Chris Hansen (Robert Pattinson) is the host of Dateline NBC’s most popular segment, To Catch a Predator. Hansen, with the help of Xavier Von Erck (Matthew Maher) and his organization, Perverted-Justice, lures would-be offenders for an interview and their eventual arrest. They employ actors, such as Del Harvey (Phoebe Bridgers) and newcomer Dan Plum (Skyler Gisondo), to help lure them in.
The segment is so popular that Jeff Zucker (himself) moves it to primetime. Hansen decides to maximize his audience with a high-profile “white whale.” He and his team zero in on Murphy, Texas, where it seems they’ve found an offender of influence. The local police give them their support for what should be a watershed television moment…
…Luke Dittrich’s Equire article, which Ajon Singh adapted for the screenplay, gives us the result: Tonight on Dateline This Man Will Die.
Needless to say, this is a tough sit, which isn’t helped by cinematographer David Bolen’s work. He magnifies Hansen’s steel-eyed screen persona and erratic off-screen behavior with his analog-styled visuals and extreme close-ups. He towers over many an offender, but is broken when one of them, a rabbi (Bob Ari), refuses to take it sitting. He starts cracking earlier when the National Enquirer snoops around his private life. Pattinson’s bits of overacting might have you wonder whether to laugh or squirm. But you’ll feel it when he quietly breaks down in the finale.
Casting directors Francine Maisler & Molly Rose, who both worked on Sinners, have assembled some shocking talent. Chances are that you won’t recognize Tony Revolori as the first offender; or Jonathan Lipnicki as the first offender Dan helps bust; or Anna Faris as Hansen’s wife Mary Joan. Creed Bratton, who played the same-named character on The Office, is creepy in his cameo as fan Jim Christian. Bill Heck’s short screen-time as Stone Phillips leaves a huge impression. And then, there’s the biggest casting surprise: Alex Winter, as the “white whale,” assistant district attorney Bill Conradt. This is the kind of ensemble the Casting Oscar was made to recognize, even by proxy.
While Hansen is at the film’s center, it equally revolves around “Decoy” Dan. He takes up the show to try to get his SAG card and gets more than he bargained for the second he walks on the set. His first segment is advertised with a comedic voice-over that’s just appalling in context (let’s just say you’ll want Hansen to show up immediately). Gisondo has a few great scenes; the first has him take up a moping Hansen’s job for one sting, while the other has him try to talk down Conradt.
Amongst the cast, we also have Merrit Wever as Hansen’s producer, Andie Bender, who almost considers leaving him for What Would You Do? She’s just as ambitious as Hansen but is more level-headed about it. Bokeem Woodbine, as Police Chief Cortland Gunn, provides another case of overacting when he discovers Conradt’s identity. And finally, there’s Eric Rahill, whose Troy provides some welcome comic relief.
What else can we talk about? You’ll almost feel bad for the offenders, from how they cower in Chris’s presence to the excessive police presence used on them (the offender that Dan interviews gets tased, despite being in crutches). Conradt is easily the most sympathetic of them, since he recognizes his moral shortcomings. Less sympathetic is a masked man who haunts Hansen’s nightmares; do you really want me to tell you the context? On the technical side, we have some exquisite work by editor Daniel Garber and composer Ari Balouzin. I’ve said enough.
This isn't a film for everyone. If you do decide to take a seat for Primetime, you'll be in for an unnerving yet captivating experience. If not, then perhaps I can interest you in a more appealing movie or two later this month. And believe me, this month is going to be packed. Onwards to the next review, I guess.
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