by Josh Sewell
Primetime
(Rated R for disturbing sexual material, graphic nudity, some violent content and language. Opens in theaters on September 25.)
The premise: In 2006, To Catch a Predator host Chris Hansen (Robert Pattinson) sets out to make television history but instead discovers some dark truths about the media and himself.
The verdict: NBC’s To Catch a Predator was an ugly moment in American “journalism,” although the term is highly debatable in this specific context. Advertised as a public service designed to get monsters off the street, the “news” program almost immediately decomposed into gross reality TV tropes and raised uncomfortable questions about ethics, morality and entrapment.
As the show’s host, Hansen played a major role in how far the show leaned in that direction, opting for gotcha moments and ill-timed jokes rather than keeping the focus on protecting children. In that respect, Primetime nails the uncomfortable, cringe-inducing examination of who this show was actually for; whether its goal was journalism or exploitation; and if it should’ve existed to begin with.
Screenwriter Ajon Singh, director Lance Oppenheim (making his feature debut after a career in documentaries) and Pattinson (having a blast playing yet another straight-up weirdo) refuse to be nailed down by a specific tone or genre. Primetime is equal parts docudrama, thriller and ultra-dark comedy, although the humor is never at the expense of victims – only the soulless producers and execs capitalizing on other people’s pain and humiliation for their own selfish purposes.
The supporting cast is excellent as well, particularly Skyler Gisondo as a struggling actor lured into playing a “decoy” kid on the show. Even his character has ulterior motives, but he’s the closest the movie gets to having a decent person. Merritt Wever (as Hansen’s slimy producer), Matthew Maher (as an online vigilante group leader) and Phoebe Bridgers (as another “decoy”) play characters who claim to be focused on catching bad guys, but they all have ulterior motives that feed their egos first.
Due to its subject matter and immensely uncomfortable tone, Primetime is the epitome of “not for everyone” (pretty sure I watched most of it through my fingers). However, those interested in seeing it would be wise to check out 2025’s documentary Predators first. Currently streaming on Paramount+, that film covers similar territory from a more journalistic perspective and makes an excellent companion piece – while also proving that Pattinson’s take on Hansen somehow isn’t obnoxious enough.
Grade: A-
The Stunt Driver
(Rated R for language. Opens in select theaters on September 25.)
The premise: Set in the mid-1970s, this true story centers on Canadian stunt driver Ken Carter (Jay Baruchel), who battles personal demons and public doubt to attempt a mile-long jump across the St. Lawrence River in a rocket car.
The verdict: General audiences mostly know Baruchel from his voice work as Hiccup in the How to Train Your Dragon franchise, as well as comedies like Tropic Thunder and This Is the End, but he’s an accomplished dramatic actor as well. He’s great in 2023’s criminally underseen BlackBerry and was a small but compelling part of ensemble films like Almost Famous and Million Dollar Baby (although that one hasn’t aged well).
That’s why I was excited to see him deliver such a nuanced performance in The Stunt Driver, a biopic from writer-director Michael Dowse with lots of comedic moments that still takes Carter’s character and his dreams seriously. He could’ve easily been a Ricky Bobby-esque figure, an idiot surrounded by fellow cartoons. Instead, the film acknowledges his job is bonkers and leaves it up to Baruchel to sell the authenticity beneath the craziness.
What would drive someone to commit years of his life, while risking debilitating injury or death, for seemingly little reward? Although Carter certainly isn’t a relatable protagonist, Dowse and Baruchel are able to authentically convey why this unorthodox career is important to him. The supporting cast is also good at making their characters memorable, especially Dan Bakkedahl as Carter’s frustrated investor; Ed Helms as his stressed-out engineer; and Ben Foster playing the quietly unhinged Evel Knievel.
It’s a shame The Stunt Driver is hitting theaters with such little fanfare considering it’s a crowd-pleasing, surprisingly poignant movie for adults. I recommend seeking it out or at least keeping it on your radar when it hits streaming in a few weeks.
Grade: B+
Ha-Chan, Shake Your Booty!
(Rated R for sexual content and language. Opens in select theaters on September 25.)
The premise: Haru (Rinko Kikuchi) and Luis (Alejandro Edda) love competing in Tokyo’s ballroom dance community. However, after tragedy strikes, Haru withdraws into isolation. When friends coax her back to the studio, she develops an infatuation with the new instructor (Alberto Guerra).
The verdict: While the narrative of Ha-Chan, Shake Your Booty! is interesting, director Josef Kubota Wladyka (who co-wrote the screenplay with Nicholas Huynh) doesn’t explore it fully enough to justify the two-hour runtime. It’s divided into cutesy chapters, but he can’t seem to settle on a tone that works throughout. As such, the audience doesn’t get enough time to understand Haru before she’s moved on to another misunderstanding or crazy scheme.
Kikuchi is a terrific actress (with an impressive and diverse filmography) who does what she can to elevate her character above the mostly generic premise. However, the other actors don’t get the same luxury since their screen time pales in comparison. Wladyka attempts to spice things up with some fantasy sequences (or is it an attempt at magical realism?), but they’re distracting and feel shoehorned in.
Granted, there are some solid dance sequences and inspired needle drops, but those moments of joy and whimsy aren’t enough to overcome the film’s other problems. It’s too bad – the quality ingredients are there, but Wladyka and Huynh don’t quite nail the recipe.
Grade: C
(Rated R for disturbing sexual material, graphic nudity, some violent content and language. Opens in theaters on September 25.)
The premise: In 2006, To Catch a Predator host Chris Hansen (Robert Pattinson) sets out to make television history but instead discovers some dark truths about the media and himself.
The verdict: NBC’s To Catch a Predator was an ugly moment in American “journalism,” although the term is highly debatable in this specific context. Advertised as a public service designed to get monsters off the street, the “news” program almost immediately decomposed into gross reality TV tropes and raised uncomfortable questions about ethics, morality and entrapment.
As the show’s host, Hansen played a major role in how far the show leaned in that direction, opting for gotcha moments and ill-timed jokes rather than keeping the focus on protecting children. In that respect, Primetime nails the uncomfortable, cringe-inducing examination of who this show was actually for; whether its goal was journalism or exploitation; and if it should’ve existed to begin with.
Screenwriter Ajon Singh, director Lance Oppenheim (making his feature debut after a career in documentaries) and Pattinson (having a blast playing yet another straight-up weirdo) refuse to be nailed down by a specific tone or genre. Primetime is equal parts docudrama, thriller and ultra-dark comedy, although the humor is never at the expense of victims – only the soulless producers and execs capitalizing on other people’s pain and humiliation for their own selfish purposes.
The supporting cast is excellent as well, particularly Skyler Gisondo as a struggling actor lured into playing a “decoy” kid on the show. Even his character has ulterior motives, but he’s the closest the movie gets to having a decent person. Merritt Wever (as Hansen’s slimy producer), Matthew Maher (as an online vigilante group leader) and Phoebe Bridgers (as another “decoy”) play characters who claim to be focused on catching bad guys, but they all have ulterior motives that feed their egos first.
Due to its subject matter and immensely uncomfortable tone, Primetime is the epitome of “not for everyone” (pretty sure I watched most of it through my fingers). However, those interested in seeing it would be wise to check out 2025’s documentary Predators first. Currently streaming on Paramount+, that film covers similar territory from a more journalistic perspective and makes an excellent companion piece – while also proving that Pattinson’s take on Hansen somehow isn’t obnoxious enough.
Grade: A-
(Rated R for language. Opens in select theaters on September 25.)
The premise: Set in the mid-1970s, this true story centers on Canadian stunt driver Ken Carter (Jay Baruchel), who battles personal demons and public doubt to attempt a mile-long jump across the St. Lawrence River in a rocket car.
The verdict: General audiences mostly know Baruchel from his voice work as Hiccup in the How to Train Your Dragon franchise, as well as comedies like Tropic Thunder and This Is the End, but he’s an accomplished dramatic actor as well. He’s great in 2023’s criminally underseen BlackBerry and was a small but compelling part of ensemble films like Almost Famous and Million Dollar Baby (although that one hasn’t aged well).
That’s why I was excited to see him deliver such a nuanced performance in The Stunt Driver, a biopic from writer-director Michael Dowse with lots of comedic moments that still takes Carter’s character and his dreams seriously. He could’ve easily been a Ricky Bobby-esque figure, an idiot surrounded by fellow cartoons. Instead, the film acknowledges his job is bonkers and leaves it up to Baruchel to sell the authenticity beneath the craziness.
What would drive someone to commit years of his life, while risking debilitating injury or death, for seemingly little reward? Although Carter certainly isn’t a relatable protagonist, Dowse and Baruchel are able to authentically convey why this unorthodox career is important to him. The supporting cast is also good at making their characters memorable, especially Dan Bakkedahl as Carter’s frustrated investor; Ed Helms as his stressed-out engineer; and Ben Foster playing the quietly unhinged Evel Knievel.
It’s a shame The Stunt Driver is hitting theaters with such little fanfare considering it’s a crowd-pleasing, surprisingly poignant movie for adults. I recommend seeking it out or at least keeping it on your radar when it hits streaming in a few weeks.
Grade: B+
(Rated R for sexual content and language. Opens in select theaters on September 25.)
The premise: Haru (Rinko Kikuchi) and Luis (Alejandro Edda) love competing in Tokyo’s ballroom dance community. However, after tragedy strikes, Haru withdraws into isolation. When friends coax her back to the studio, she develops an infatuation with the new instructor (Alberto Guerra).
The verdict: While the narrative of Ha-Chan, Shake Your Booty! is interesting, director Josef Kubota Wladyka (who co-wrote the screenplay with Nicholas Huynh) doesn’t explore it fully enough to justify the two-hour runtime. It’s divided into cutesy chapters, but he can’t seem to settle on a tone that works throughout. As such, the audience doesn’t get enough time to understand Haru before she’s moved on to another misunderstanding or crazy scheme.
Kikuchi is a terrific actress (with an impressive and diverse filmography) who does what she can to elevate her character above the mostly generic premise. However, the other actors don’t get the same luxury since their screen time pales in comparison. Wladyka attempts to spice things up with some fantasy sequences (or is it an attempt at magical realism?), but they’re distracting and feel shoehorned in.
Granted, there are some solid dance sequences and inspired needle drops, but those moments of joy and whimsy aren’t enough to overcome the film’s other problems. It’s too bad – the quality ingredients are there, but Wladyka and Huynh don’t quite nail the recipe.
Grade: C
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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