SummaryThe stranger-than-fiction story of an aspiring actress in 1970s Los Angeles and a serial killer in the midst of a yearslong murder spree, whose lives intersect when they’re cast on an episode of The Dating Game.
SummaryThe stranger-than-fiction story of an aspiring actress in 1970s Los Angeles and a serial killer in the midst of a yearslong murder spree, whose lives intersect when they’re cast on an episode of The Dating Game.
Kendrick leans more into the dark comedy and general dread of the situation, winding the picture tighter the deeper she goes, and her work here is ambitious and impressive.
Must watch thriller! Anna Kendricks directorial debut is fantastic as is her acting. Edge of your seat suspense film based on serial killer Rodney Alcala who was a contestant on The Dating Game.
Woman Of The Hour
Woman of the Hour is a crime thriller inspired by the chilling true story of serial killer Rodney Alcala. The film follows a struggling actress who, in a twist of fate, becomes a contestant on the popular TV show The Dating Game. Among the three bachelors vying for her attention is none other than Alcala himself, hiding behind a charming façade as Bachelor Number 3. What begins as a lighthearted game show appearance soon turns into a dangerous encounter, with her unknowingly stepping into the orbit of a notorious killer.
Anna Kendrick pulls double duty as both lead actress and director, delivering a tour de force in this thriller. Through the lens of a real-life serial killer case, Kendrick skillfully explores themes of misogyny—both societal and systemic—while capturing the pervasive dread women face. Her direction brings a sharp and unsettling edge to the story.
The pacing is expertly crafted, and the seamless switch between timelines builds toward a powerful and satisfying conclusion. What truly stands out is the film's delicate handling of violence. In stories about real-life crimes, there’s often a risk of exploitation, but here the depiction is measured and purposeful, avoiding unnecessary sensationalism. The balance strikes a rare and commendable restraint, allowing the gravity of the subject matter to resonate without crossing into excess.
Anna Kendrick and Daniel Zovatto adequately lead this movie, with Daniel's portrayal oozing charm and evil. But the star here is Autumn Best who delivers a beautiful performance as the hero of the movie.
Woman of the Hour serves as a stark reminder that behind charm and charisma, unspeakable evil can hide in plain sight. It also sheds light on how society, both in the past and today, can enable predators to thrive. The film explores the unsettling truth of how these individuals slip through the cracks, highlighting the complicity and blind spots that still exist in modern culture.
9/10
Woman of the Hour will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.
Anna Kendrick's directorial debut offers a refreshing twist on a tried and true formula by contextualizing a serial killer's wrath within the crueler misogynistic traditions that enable it.
It’s a promising debut for Kenrick behind the camera and Zovatto is excellent in front of it but it’s hard to shake the incomplete feeling that accompanies a viewing.
Well shot with solid performances, but you always feel like something is missing. That, in my opinion, would be a lack of depth. This tries to be Once Upon a Time in Hollywood, but simply lacks the development that that film provides. In spite of this, I would still recommend watching.
(Mauro Lanari)
Anna Kendrick's directorial debut hinges on a reasoning that is as aberrant as it is offensive. If you enjoy masochism, this film might be for you. Since most serial killers are male, then all males are potential serial killers. In the words of a line of dialogue: "I knew he was risky, but fùck it – everyone is risky". So we have the first criminology movie without the need for profiling experts. Switching to victimology and adopting the same exasperated polarization, one could argue the exact opposite: "I knew she was risky, but fùck it – everyone is risky". The 1970s setting is filled with women, graduates or not, knowledgeable about general relativity or not, yet naïve, blindly trusting others, stubbornly deluded by the goodness of others. Finally: what is the purpose of the non-linear narrative structure?