Callum Ward
After premiering at TIFF23 last year, Anna Kendrick’s anticipated directorial debut, Woman of the Hour, landed on Netflix just over a month ago to much positive acclaim. The film stars Kendrick herself, Daniel Zovatto, Tony Hale, Nicolette Robinson and Autumn Best, and is based on the crimes of Rodney Alcala, a convicted serial killer who earned the nickname “The Dating Game Killer” after his appearance on the popular 1970s television program of the same name. At the time of his 1978 appearance on the show, Alcala was already in the midst of a gruesome murder spree, having committed a series of brutal killings that spanned years. The film itself follows Kendrick’s character Sheryl as she takes part in an episode of the show where, unbeknownst to her, Alcala is one of the contestants. Interwoven with this story are flashbacks of Alcala’s heinous crimes with prior and future victims.
Unlike most modern serial-killer films, Woman of the Hour interestingly chooses to spend more time with the victims of Alcala’s crimes as opposed to Alcala himself. This decision allows for Kendrick in particular to really shine as Sheryl, her trademark humour and endearing charm lightening what could have otherwise been an extremely dark film, but still conveying a sense of unease and even dread in the more intense scenes opposite Daniel Zovatto’s Alcala. Speaking of Alcala, the focus being more on Sheryl than him makes those scenes in which he does feature even more impactful, something that is further enhanced by Zovatto’s incredible performance. His portrayal of Alcala is impressively unsettling and layered as he manages to expertly blend his moments of charm with a deep insecurity that brings out his menacing, more unhinged side.
Best known for her leading roles in the likes of Pitch Perfect, Up in the Air and 50/50, Anna Kendrick’s transition from beloved comedic and dramatic actress to director adds another layer of interest to Woman of the Hour. Throughout her career, Kendrick has consistently demonstrated a knack for capturing human vulnerability in her characters, so it was interesting to see how she would tackle showcasing this from behind the camera and, for a directorial debut, I believe she does this extremely well. She expertly builds tension throughout, managing to really capture the fear and vulnerability of Alcala’s victims in a vivid and harrowing way that sticks with you long after the credits role. One scene in particular that stands out in this aspect is as Sheryl shares some playful banter on The Dating Show stage, the camera subtly shifts to Alcala’s cold, predatory gaze, a chilling effective juxtaposition of his outward charm over the course of filming compared to the evil reality beneath his façade. This moment was one of many that impressively encapsulated Kendrick’s ability to create unease without overt exposition.
By using a chilling and gruesome true story, Kendrick effectively conveys the gravity of the issues that women faced during the time and the fear that came with it as well as highlighting how lightly such allegations were taken by people in authoritative positions back then. This is especially prevalent in the powerful yet haunting ending that really portrays the severity of Alcala’s crimes as well as the sheer incompetence in how the police dealt with him—issues still relevant today.
Whilst impressive for the most part, Woman of the Hour isn’t without issues. The jumps in the timeline throughout the film, while adding context to the extent of Alcala’s crimes, can often be quite jarring and leave the pacing feeling uneven for the audience. Additionally, some of the moments during the filming of the game show are often much more heavy-handed in their messaging as opposed to the more subtle and nuanced commentary for the most part. As a result, these moments can often stand out and take the audience out of the story.
Despite a few flaws, Woman of the Hour is a strong directorial debut for Anna Kendrick that sheds light on the societal blind spots that allowed such a proficient predator to operate in plain sight for so long, offering a commentary that is still relevant in the modern day when it comes to gender dynamics, police incompetence, and the pursuit of justice. It leaves me excited to see what is next for Kendrick, whether she’s back in front of the camera, behind it again, or both.
