Shadows on the Wall

Primetime

dir Lance Oppenheim
scr Ajon Singh
prd Brian Kavanaugh-Jones, Fred Berger, William Iannaccone, Robert Pattinson, Brighton McCloskey
with Robert Pattinson, Merritt Wever, Skyler Gisondo, Matthew Maher, Phoebe Bridgers, Anna Faris, Alex Winter, Bokeem Woodbine, Jessica Hecht, Eric Rahill, Jonathan Lipnicki, Tony Revolori
release US 25.Sep.26,
UK 30.Oct.26
26/US A24 1h49

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Because he takes an intriguingly unhinged approach, director Lance Oppenheim draws the audience into this true story about a group of engagingly messy people who are making the documentary TV series To Catch a Predator. Of course, the paedophilia topic gives everything a very dark sense of gravity, but an array of personality details and pitch-black humour continually add interest and resonance when we least expect it.

In 2006, Chris Hansen (Pattinson) is making headlines with his segments on Dateline, as he springs a surprise interview and arrest on men who are seeking sex with underage teens. As ratings surge, he is given his own primetime slot, working with producer Andie (Wever), activist Xavier (Maher) and youthful-looking actress Del (Bridgers). They are joined by newly cast 23-year-old aspiring actor Dan (Gisondo), who also plays the decoy who welcomes men into the trap. But all of them are dealing with their own personal demons, especially Chris, who longs to catch a high-profile predator.

Shot in period style with dense colours, a video-style graininess and intense camera angles, the film is designed to keep the audience on edge, just like the characters. Scenes are peppered with inventive flourishes, including surveillance video and interpersonal nuances. And because each of the central figures is fighting his or her own private battle, the stakes feel unusually weighty. This allows the cast to deliver seriously meaty performances.

As a man on a mission, Pattinson finds fascinating ripples as Chris; confidence grows with each catch. But he is forced to face up to his own moral failings. The effortless Wever shines as the frazzled Andie, who begins to consider other options for her career. And Maher is fascinating as a guy who has lost himself in this rabbit hole. But the film truly belongs to the terrific Gisondo in a focal role that grows more complex with each scene.

Pattinson's edgy Chris may have the central thematic narrative, but the heart of the story is Dan's journey into this unusual improvisational acting job. Each of these people is discovering the urgency behind this show while questioning the toll it is taking on their lives. So the film's most revealing aspect is the way it explores the ironic ethical question of preying on predators. Surely it's right to entrap a monster if it gets them off the streets. But is this eroding our souls in the process?

themes, language, violence, nudity 28.Oct.26

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