I watched Woman of the Hour and I didn’t like it. 2.5/5
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Woman of the Hour presents a chilling true-crime premise and an ambitious directorial debut from Anna Kendrick, but it often struggles to fully capture the tension and intrigue expected from a thriller. While the film touches on important themes and features strong performances, its overly restrained approach and uneven pacing leave it feeling more like a procedural retelling than a gripping drama.
The film recounts the true story of Rodney Alcala, a serial killer who made a brazen appearance on The Dating Game at the height of his murder spree. Anna Kendrick stars as Sheryl Bradshaw, the contestant unknowingly paired with Alcala (Daniel Zovatto) on the show. Intercut with scenes from Alcala’s violent escapades, the story weaves between Sheryl’s unsettling interactions with him and the broader societal dynamics that allowed a predator to thrive unchecked.
Kendrick’s performance as Sheryl is a highlight. She brings vulnerability and understated strength to the role, portraying a woman grappling with the casual misogyny of her environment and the creeping danger posed by Alcala. Daniel Zovatto is chilling as Alcala, exuding charm and menace in equal measure, though the script doesn’t fully explore his character beyond the surface level. Supporting performances from Nicolette Robinson and Tony Hale add texture to the ensemble, though their characters feel underutilized in the grander narrative.
As a director, Kendrick shows promise, crafting moments of genuine unease and capturing the era’s aesthetic with meticulous detail. The use of muted colors and period-accurate costumes helps transport viewers into the late 1970s, while the reenactment of The Dating Game taps into the bizarre juxtaposition of lighthearted entertainment and lurking danger. However, Kendrick’s cautious approach to the material, while avoiding sensationalism, sometimes robs the story of its potential impact.
The pacing is a significant issue. The film jumps between timelines and perspectives, which creates a disjointed narrative. While this structure aims to build suspense and emphasize the systemic failures that allowed Alcala’s crimes, it often feels unfocused. Moments of tension are undermined by the lack of sustained momentum, and the story’s most shocking elements are delivered with such restraint that they lose some of their intended weight.
For a film billed as a thriller, Woman of the Hour is surprisingly subdued. The central game show sequence, which should be a nerve-wracking centerpiece, is oddly flat. Kendrick’s decision to play the material so carefully results in a tonal inconsistency—the juxtaposition of Alcala’s crimes with the absurdity of his Dating Game appearance is intriguing but doesn’t reach its full potential. Even the film’s darker moments, while unsettling, fail to generate the visceral fear or suspense that might have made them more impactful.
That said, the film does succeed in exploring the casual misogyny and systemic failures that allowed Alcala to operate. The dismissal of female characters’ concerns and the unchecked power dynamics of the era are depicted with clarity, and these thematic elements resonate even when the narrative itself feels lacking in urgency.
Visually, the film is polished, with Zach Kuperstein’s cinematography capturing both the bleakness of Alcala’s crimes and the garishness of the television studio. Danny Bensi and Saunder Jurriaans’ score adds an ominous undertone, though it sometimes feels overbearing in scenes that might have benefitted from subtlety.
Ultimately, Woman of the Hour is an ambitious effort that doesn’t quite live up to its potential. While it offers a thoughtful perspective on a chilling true story, its lack of cohesion and reluctance to fully embrace its thriller elements leave it feeling more dull than gripping. Fans of true-crime stories may find value in its meticulous attention to detail and Kendrick’s restrained direction, but for those seeking a taut, edge-of-your-seat experience, this film might not deliver.