FilmWeek: ‘Primetime,’ ‘Your Mother, Your Mother, Your Mother,’ ‘Forgotten Island’ and more!

Lance Oppenheim also has this Elizabeth Holmes documentary coming out in a couple of weeks called You Can See Everything, so he has a taste for these kind of fascinating, lurid stories here, and that is what is happening in Prime Time.

So Robert Pattinson continuing to lean into his, his villainous streak after The Odyssey this past summer, plays Chris Hansen, a real-life guy, a longtime correspondent for Dateline NBC, who, as you mentioned, in the early aughts had the show To Catch a Predator, which was sort of a, a fascinating, riveting, kinda icky show where they would have these decoys of people who were pretending to be teenagers luring men to a house for what would be a horrible situation for a kid.

Um, and then Chris Hansen comes out and says, "Why don't you have a seat? What are you doing here? What are you thinking?" And it was riveting television, and it, you know, it was taking people off the streets who might be there to do horrible things to your child.

Uh, this movie kinda dramatizes that, and really heightens it as almost like a horror film, you know? It's, it's lurid in its color, in the texture of the film.

Um, it's very heightened in terms of its emotions.

Uh, I don't know that it provides a whole lot of insight into Chris Hansen or into the show.

There's a fantastic documentary that came out last year called Predators from a director named David Osit, who looked at this show and this phenomenon from a variety of angles, and really forced you to rethink what might have seemed like a guilty pleasure or what might have seemed like riveting, icky television.

Um, this does not have that same sense of purpose.

This is like, "Look at this awful guy, and he's arrogant, and he's pushing it in the name of fame and ratings." And we've seen that.

The idea that television personality is vapid and wants attention and adoration, like, there's not a whole lot to that.

Um, I like Merritt Wever a lot as his producer.

I like Skyler Gisondo a lot as one of the young actors playing one of these teenagers.

He had to play like he was 13 to, to lure guys in.

Um, but it's super heightened.

Like, the, the cinematography from David, David Bolen is, like, deep, lurid use of rich color.

Um, Ari Balouzian's score is very heightened to, to amp up the, the sense of danger and, and dread here.

But it kinda lets Chris Hansen off the hook.

Also, Chris Hansen's not happy about this movie, by the way.

Apparently he didn't see it because he would have to, uh, sign a nondisclosure agreement, he said?

What he says is that they, they wanted him to sign an NDA prior to a screening, and that the phrasing of the NDA was far more restrictive than the kind of thing that Maureen or I might sign routinely if we see something super early.

This is kind of a standard thing.

Um, he didn't want to be held to that, so he walked.

He's not seen the film.

They did not reach out to him.

Robert Pattinson did not reach out to him, but has said nice things about him in public.

Lance Oppenheim also has this Elizabeth Holmes documentary coming out in a couple of weeks called You Can See Everything, so he has a taste for these kind of fascinating, lurid stories here, and that is what is happening in Prime Time.

So Robert Pattinson continuing to lean into his, his villainous streak after The Odyssey this past summer, plays Chris Hansen, a real-life guy, a longtime correspondent for Dateline NBC, who, as you mentioned, in the early aughts had the show To Catch a Predator, which was sort of a, a fascinating, riveting, kinda icky show where they would have these decoys of people who were pretending to be teenagers luring men to a house for what would be a horrible situation for a kid.

Um, and then Chris Hansen comes out and says, "Why don't you have a seat? What are you doing here? What are you thinking?" And it was riveting television, and it, you know, it was taking people off the streets who might be there to do horrible things to your child.

Uh, this movie kinda dramatizes that, and really heightens it as almost like a horror film, you know? It's, it's lurid in its color, in the texture of the film.

Um, it's very heightened in terms of its emotions.

Uh, I don't know that it provides a whole lot of insight into Chris Hansen or into the show.

There's a fantastic documentary that came out last year called Predators from a director named David Osit, who looked at this show and this phenomenon from a variety of angles, and really forced you to rethink what might have seemed like a guilty pleasure or what might have seemed like riveting, icky television.

Um, this does not have that same sense of purpose.

This is like, "Look at this awful guy, and he's arrogant, and he's pushing it in the name of fame and ratings." And we've seen that.

The idea that television personality is vapid and wants attention and adoration, like, there's not a whole lot to that.

Um, I like Merritt Wever a lot as his producer.

I like Skyler Gisondo a lot as one of the young actors playing one of these teenagers.

He had to play like he was 13 to, to lure guys in.

Um, but it's super heightened.

Like, the, the cinematography from David, David Bolen is, like, deep, lurid use of rich color.

Um, Ari Balouzian's score is very heightened to, to amp up the, the sense of danger and, and dread here.

But it kinda lets Chris Hansen off the hook.

Also, Chris Hansen's not happy about this movie, by the way.

Apparently he didn't see it because he would have to, uh, sign a nondisclosure agreement, he said?

What he says is that they, they wanted him to sign an NDA prior to a screening, and that the phrasing of the NDA was far more restrictive than the kind of thing that Maureen or I might sign routinely if we see something super early.

This is kind of a standard thing.

Um, he didn't want to be held to that, so he walked.

He's not seen the film.

They did not reach out to him.

Robert Pattinson did not reach out to him, but has said nice things about him in public.