Skip to content The foil to Pattinson’s Chris Hansen comes in the form of Skyler Gisondo’s Dan Plum, aka ‘Decoy Dan’, hired by Hansen and the team to expose decoy minors before Hansen can swoop in with his signature quip. Skyler makes a lively impression on the character of Dan, who we meet as a young actor who loves musical theater, but who becomes stupid and, by the looks of things, frustrated by the nature of his role in the television peaks, which casts an even darker shadow on ethical practices To catch a Predator. Representing the other decoy, Del Harvey, is Phoebe Bridgers, who makes an impressive debut playing the versatile decoy working for Perverted-Justice, who raises concerns about the ethical issues involved as the team escalates its methods.
It’s a film where the pressure dial turns up steadily as we move along, and it begins to leave its mark on the increasingly volatile Hansen, and then on his agent, Andie Bender, played brilliantly by Merritt Wever. The producer who is often cruel bounces away from Pattinson’s skit, while she is rather indecisive and cutthroat herself. As the tension builds, we move on to the final episode of To catch a predator, one that does not need any artistic embellishment to dramatize the events that happened.
Where Lance Oppenheim excels Prime time to create this moody, damp, and uncomfortable atmosphere throughout the film, and to establish a bittersweet situation that requires the exposition and its subject area. I would like to see some elements of the show explored further, or that they would spend more time on the specific events and issues they highlight, but engaging performances and effective cinematography create an interesting but uncomfortable retelling of how Chris Hansen and Dateline NBC blurred the lines between entertainment, investigative journalism, and law enforcement, or more accurately.
You will see Prime time in UK cinemas on October 30.
