By Thomas M. Puhr
My immediate response to Lance Oppenheim’s Primetime (2026) was that the film fails to give its antihero, Chris Hansen (a scenery-chewing Robert Pattinson), any real interiority. But to write the film off as a simple case of style (and what style it has; those reds, those blues!) over substance would be to dismiss a core feature of its construction. The opening shot—a close-up of Pattinson’s mouth as he recites lines from an illicit AOL chat (echoes of Under the Skin’s prologue)—says it all: Here, an entity assumes the human frame in order to wreak vengeance. It, too, performs.
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