USA 2026
Opening September 24, 2026

Directed by: Lance Oppenheim
Writing credits: Ajon Singh, Luke Dittrich
Principal actors: Robert Pattinson, Skyler Gisondo, Merritt Wever, Anna Faris, Tony Revolori

Based on a true story. A 2007 Esquire magazine feature provides the skeleton and juicy raw material for Ajon Singh’s screenplay and director Lance Oppenheim’s debut narrative feature film choice. NBC, one of America’s major commercial broadcast networks, produced Dateline’s To Catch a Predator, a news magazine series favored among reality television fanatics. Until a 2006 program is too real for even the most jaded loyal followers.

Host Chris Hansen (Robert Pattinson) and the producer Andie Bender (Merritt Wever) work well together. Intoxicated by the show’s popularity and their niche, they are shameless in how they increase its audience. Which says something, considering every “sting” is orchestrated right down to the house/bait and the victim/decoy. Del Harvey’s (Phoebe Bridgers) especially adept at decoying, acting as both girl and boy minors. Harvesting predators is Xavier Von Erck’s (Matthew Maher) forte; the founder of Perverted-Justice Foundation, Inc. is a tireless, almost maniacal vigilante. Aspiring newcomer Dan Plumb (Skyler Gisondo), wholesome and winsome, dreams of being a recognized actor not a decoy, just as Hansen does about Dateline’s co-anchor Stone Phillips (Bill Heck). NBCUniversal’s Jeff Zucker, as himself, promotes Predator to primetime. Dizzy with success, Hansen’s fear-of-failure and overdrive is a strain on everyone. Xavier recommends a novel source of prey; with Hansen grappling for more fame, it becomes a doable. Bingo! In Rock County Texas, a sub-sub-suburb of Fort Worth-Dallas, fair game emerges (Alex Winter) and one over-zealous police chief (Bokeem Woodbine). To quote the provocateur, "Why don't you have a seat right over there?"

The thin storyline is boosted by the razzle-dazzle of Daniel Garber’s editing style and the stellar performances from Pattison and cast that keep people in their seats. David Bolen’s mixed-effects cinematography, Alex DiGerlando’s production design, Kirby Feagan’s art direction and set decorator Chere Theriot’s adornments match and meet Americans’ reality requirements. Almost twenty years later the initial exposé is less revelatory, offering less of a scandal considering current society’s bar-lowering standards. The award-winning Chris Hansen works in television as well as still making similar programs for his like-minded streaming service audience. In any case, predators and victimizers exist eternally. “Have a seat,” that’s life. 110 minutes (Marinell H.)