Rodney Alcala was a real-life serial killer who, in the late 1970s, despite a criminal record, appeared as a contestant on The Dating Game. His suave demeanor and clever answers won over the audience, but by that point, he had already murdered at least five women. Woman of the Hour centers on Cheryl Bradshaw, an aspiring actress hoping for her big break, who finds herself facing Alcala on the show. As she decides between three bachelors, the film offers a chilling look behind the scenes, revealing the true danger lurking beneath Alcala’s charming exterior.
The film strikes a delicate balance between suspense and dark humor, never letting things get too grim but still keeping the tension high, especially during a standout parking lot scene in the third act, which truly showcases Kendrick’s potential as a director. In her directorial debut, Anna Kendrick skillfully manages the multiple narrative threads, blending suspense and tension as Cheryl and Alcala’s paths unfold, demonstrating a surprisingly strong command of storytelling and atmosphere.
As for the performances, Kendrick once again shines in portraying a smart, intuitive character, particularly during the dating show scenes, where she subtly conveys Cheryl’s growing discomfort. Daniel Zovatto, as Alcala, delivers an unsettling performance, using his voice and charm to make it clear why people might be drawn to him, yet giving off just enough of an eerie vibe to keep viewers on edge. The film also does well in constructing its female characters, portraying them as intelligent and capable, never once suggesting they are responsible for the situations they find themselves in. Alcala’s manipulation and exploitation of these women are framed as entirely his doing, and the film maintains a sharp focus on his disturbing tactics.
Woman of the Hour works as a suspenseful thriller but stumbles when it attempts to delve deeper into the theme of women’s voices being ignored in moments of danger. Part of this is due to the somewhat dull subplot involving an audience member trying to expose Alcala, which lacks the engagement and energy needed to make that thread more impactful. The subplot would have benefitted from a more charismatic character at its center. Still, the movie moves at a brisk pace and doesn’t overstay its welcome. Aside from the faltering subplot, the film remains engaging throughout. While it may not break new ground, Kendrick’s directorial debut delivers a solid, suspenseful experience—and that memorable parking lot scene alone makes it worth watching.