ANNA Kendrick makes her directorial debut in Woman of the Hour by diving into the unsettling true story of Rodney Alcala, the so-called “Dating Game Killer.” While the premise sounds like a typical true crime retelling, Kendrick’s film takes a refreshingly different approach.
Rather than focusing on the gory details of Alcala’s crimes, the movie explores the darker, more nuanced dangers women face, especially in seemingly benign circumstances. Daniel Zovatto’s eerie portrayal of Alcala elevates the film, adding psychological tension that makes him even creepier than the real-life killer.
Danger behind charming facade
Set in 1978, Woman of the Hour centres around the surreal events that occurred when serial killer Alcala appeared as a contestant on the popular TV show The Dating Game. Kendrick plays Cheryl Bradshaw, the unsuspecting bachelorette who chooses Alcala, bachelor number three, without knowing that she narrowly escaped becoming his next victim.
The film uses this bizarre real-life event as its jumping-off point. Still, the story quickly deepens, cutting between Alcala’s murder spree and Cheryl’s uneasy realisation that something about her chosen bachelor is off.
Kendrick’s decision to centre the film around the TV show’s appearance is clever because it instantly sets up the situation’s inherent absurdity. At this point, Alcala, already responsible for several murders, somehow charms his way onto a lighthearted dating show.
The show’s playful, low-stakes atmosphere sharply contrasts with the horror lurking just beneath the surface, making it all the more chilling when Alcala wins the date.
Exploring unsettling gender dynamics
One of the film’s most striking achievements is its ability to move beyond the typical “serial killer movie” formula. Rather than simply portraying Alcala’s violent acts, Woman of the Hour makes a broader commentary on the precarious position women often find themselves in when navigating encounters with men.
Kendrick uses Cheryl’s experience as a metaphor for the many ways women are forced to “play the game” to survive, whether it is on a television show or in everyday life. This thematic depth sets the film apart from other true crime adaptations, turning it into a thoughtful exploration of gender dynamics and the subtle, insidious dangers women face.
The movie does not linger unnecessarily on the violence or gruesome details of Alcala’s crimes, but it does not shy away from the sense of dread either. Kendrick strikes a balance between tension and social commentary, highlighting the terrifying reality that Alcala operated in a world where his charm and manipulative behaviour went unchecked for far too long.
The film underscores how easily men like Alcala can hide behind a mask of normalcy and how that very facade is what makes them so dangerous.
Zovatto (left) deftly plays a serial killer who hides behind a mask of normalcy.
Zovatto steals show
Zovatto’s portrayal of Alcala is nothing short of brilliant. He brings a disturbing mix of charm and menace to the role, effortlessly switching between the suave bachelor persona he displays on The Dating Game and the cold, calculating killer he truly is.
Zovatto nails Alcala’s creepy charisma, making him even more unnerving than the real-life serial killer. His performance keeps viewers on edge throughout the film, as every interaction with Cheryl or other characters feels like a ticking time bomb.
Zovatto’s ability to capture Alcala’s narcissistic confidence – his belief that he could charm his way out of anything – makes him a standout in the movie. He exudes an eerie calmness, even when the audience knows the depths of his depravity.
His portrayal takes what could have been a straightforward villain role and turns it into a complex, chilling study of a predator who thrives on manipulation.
Surprising directorial debut
As a first-time director, Kendrick proves that she is more than capable of handling heavy subject matter with skill and nuance. Kendrick’s direction is confident, striking a delicate balance between tension, horror and moments of dark humour.
She never lets the film tip too far into exploitation territory, instead using true-crime elements to make a larger statement about the power dynamics between men and women.
Kendrick also shines in her role as Cheryl, bringing vulnerability and intelligence to the character that makes her more than just a damsel in distress. Cheryl is not simply a victim – she is a woman who begins to sense the danger she is in and uses her instincts to navigate it.
The film subtly shows how women often have to balance charm and self-preservation, a tightrope that Cheryl walks masterfully as she grows increasingly suspicious of Alcala’s too-smooth exterior.
Thought-provoking thriller
While it is rooted in a real-life serial killer’s horrifying exploits, the film’s focus is refreshingly different. Kendrick and screenwriter Ian McDonald do not just recount Alcala’s crimes, they use the story to shine a light on the dangers women face in a world where men like Alcala can hide in plain sight.
By the time the credits roll, audiences will feel more than just the thrill of watching a creepy serial killer movie – they will leave with a heightened awareness of how dangerous charm can be, especially for women who have to constantly be on guard.
Serial killer movie done right
Kendrick’s directorial debut delivers a tense, engaging thriller that does more than just recount the gruesome facts. It offers a deeper look at the unsettling dynamics that allow predators to thrive, all while keeping audiences glued to their seats with its suspenseful storytelling and exceptional performances.
For those expecting a typical true crime retelling, Woman of the Hour will surprise and impress with its smart, socially conscious approach. It is a film that not only entertains but also leaves viewers thinking about the dark truths that lurk behind seemingly ordinary encounters.
Woman of the Hour is showing in cinemas.
DIRECTOR: Anna Kendrick
CAST: Anna Kendrick, Daniel Zovatto, Tony Hale, Nicolette Robinson, Autumn Best
E-VALUE: 7/10
PLOT: 7/10
ACTING: 7/10
