Primetime came out of Venice on 95%, and the BBC called it the best work Pattinson has done

There’s been quite a stir over at Venice Film Festival for Robert Pattinson’s latest effort – Primetime – and, for once, it’s the sort of buzz that feels fully earned. Debuting on 5 September 2026 and backed by A24, the psychological crime thriller has already scored a near-unreal 95% on Rotten Tomatoes. Not just a hit with critics, but possibly the high point of Pattinson’s career so far, if you believe the festival chatter.

Primetime hit Venice on 5 September 2026 and is boasting a 95% Tomatometer already.

Pattinson at His Peak?

If you’ve wondered what Robert Pattinson’s been up to after all the moody blockbusters and indie dramas, here you go: he’s playing Chris Hansen – yes, the bloke from To Catch a Predator, that infamous TV series that set up stings for adults trying to meet up with minors. Except here, it’s a fictional take on Hansen and his Florida-based operations, set back in 2006 and doubling down on the dark, psychological grit. The premise pretty much dares you to look away: a telly journalist goes deep into online chatrooms, fishing out predators and luring them into TV history, or infamy, depending on your view.

Variety’s been the order of the day among the reviews, but if you want to know where the critical winds are blowing: BBC’s Nicholas Barber handed it a 5/5 and called it the best work Pattinson’s delivered. Quite the claim for someone who’s bounced between shambling vampires, indie desperation, and a goth billionaire.

Read more: Gritty Chris Hansen biopic Primetime gets early love for Robert Pattinson

Metro.co.uk’s Tori Brazier found the film 'audacious, imaginative, and darkly funny,' especially as Pattinson tackles the role of a man “in predator-catching mode.” If you think Pattinson in a suit was odd, wait until you see him behind the controls of exploitative reality television. It’s that sort of 'wait, what?' casting that pays off better than it really ought to.

There’s love for the supporting cast, too. Luke Hicks from The Film Stage noted the almost flawless ensemble, including Merritt Weaver as Andie Bender, Anna Faris as Mary Joan Hansen, and Skyler Gisondo as Dan Plumb. And the list gets even longer: Bokeem Woodbine, Jessica Hecht, Jonathan Lipnicki (yes, from Jerry Maguire), Tony Revolori, Phoebe Bridgers – it’s a collection that’s part serious, part a who’s-who of 'wait, they’re in this?'

After seeing Primetime at Venice, Bilge Ebiri of New York Magazine/Vulture said: "I’ve admired Pattinson for years, but nothing quite prepared me for his turn as Hansen... It’s a stunning demonstration of the actor’s range, and watching the film, you can’t imagine any other performer of his generation pulling it off."

Behind and In Front of the Camera

This is the latest from director Lance Oppenheim, who’s built a name on off-kilter, human-centred stories, now trying his hand at a story that’s barely believable and yet all too real. It’s a strange bit of casting and subject-matter that seems tailor-made for Pattinson, who also produces alongside Ari Aster, Fred Berger, and the usual A24 stable of producers: Tyler Campellone, William Iannaccone, Brian Kavanaugh-Jones, Lars Knudsen, and Brighton McCloskey. If the names don’t ring a bell, they’re the brains behind a lot of the recent A24 gold rush stuff.

A24 plans to give Primetime a proper release in US cinemas on 25 September 2026. If these festival raves are anything to go by, it might turn into the film that redefines Pattinson for people who still see him as 'that bloke out of Twilight.' Or at the very least, it’ll give you something properly fresh to argue about the next time you’re cornered at a pub table by someone who reckons telly and film have got a bit too safe these days.

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