Pulling viewers into the twisted world of Rodney Alcala, the infamous serial killer who appeared as a contestant on The Dating Game in 1978, Anna Kendrick’s Woman of the Hour opens with an uneasy tension that never quite lets go. Kendrick, both in front of and behind the camera, weaves a chilling narrative that highlights how societal norms, particularly around gender and power, allowed a man like Alcala to charm and manipulate his way into his victims’ lives.
At first glance, it might seem like a strange choice for Kendrick, best known for her work in comedies and musicals like Pitch Perfect and Up in the Air, to take on such grim material. But Woman of the Hour unveils Kendrick’s capability of handling the complexities of true crime very well. Her portrayal of Cheryl Bradshaw, the actress who unwittingly picked Alcala as her date on the show anchors the film. Kendrick skillfully embodies the weariness and vulnerability of a woman navigating a world rife with casual misogyny and dangers of a culture that enables predators.
The film sets the stage in 1970s Los Angeles, a time when women were constantly reduced to their looks and charm, with few avenues for genuine power or autonomy. Cheryl, struggling to make a name for herself as an actress, is initially hesitant to appear on The Dating Game. Her agent’s insistence that it’s “just for exposure” encapsulates the superficiality of an industry that treats women as commodities, not artists. This context becomes crucial as the story unfolds—Cheryl is surrounded by predatory men who don’t appear threatening at first glance, yet constantly undermine her agency.
Daniel Zovatto’s portrayal of Rodney Alcala is disturbingly effective. The ease with which he transitions from charming photographer to calculating predator is unnerving.
Kendrick wisely chooses not to revel in the violence, keeping most of Alcala’s horrific acts off-screen. Instead, she focuses on the psychological terror, building suspense through tense silences and lingering stares. Zovatto, with his disarming half-smile and unhurried movements, perfectly captures the duality of a man who could so easily slip under society’s radar.
What Woman of the Hour excels at is crafting a broader commentary on the societal structures that allowed Alcala to thrive. The film is not just a retelling of a serial killer’s gruesome acts; it’s a critique of the way women are devalued and objectified in both personal and professional spaces.
Cheryl’s experience on The Dating Game becomes a microcosm of this. She is reduced to her appearance, her intelligence dismissed along with the casual sexist remarks, by the game show’s host, Ed Burke (played with a sleazy charm by Tony Hale).
Their ability to appeal to men measures solely the show’s entire setup—three men competing for a woman’s affection, with the audience judging every interaction—reflects the real world.
Kendrick’s direction is at its most compelling when she explores the unspoken dynamics between women. There are moments in the film where Cheryl and other women exchange glances, a silent language of recognition and understanding.
One of the film’s most powerful scenes occurs when Cheryl locks eyes with a cocktail waitress during her date with Alcala. It’s a brief moment, but in that shared look, the waitress recognizes Cheryl’s discomfort and subtly helps her out of the situation.
However, the film has its shortcomings. Its non-linear structure, jumping between different points in Alcala’s timeline and Cheryl’s story, can at times feel disjointed. While this approach is meant to mirror the chaotic and unpredictable nature of Alcala’s crimes, it occasionally detracts from the emotional impact of the story. Alcala’s victims are introduced only moments before their deaths, and while Kendrick is careful not to exploit their suffering, the rapid pacing sometimes makes it difficult to fully connect with their stories.
That said, the tension reaches its peak during the filming of The Dating Game episode. By this point, the audience knows who Alcala is, and the suspense of watching Cheryl interact with him, unaware of his true nature, is palpable. Kendrick plays Cheryl with a quiet strength.The real terror of the scene isn’t just that Cheryl is sitting across from a serial killer, but that her discomfort is ignored by everyone around her. Even when a woman in the audience (played by Nicolette Robinson) recognizes Alcala and tries to warn the producers, her concerns are brushed aside. not much different than the real world.
Autumn Best comes out with a standout performance as Amy, a teenage runaway who encounters Alcala as he manipulates her into getting to a secluded place to get her killed. Best’s portrayal of Amy’s terror and eventual escape is gripping and emotionally resonant.
The film’s climax, though predictable for those familiar with Alcala’s story, is no less impactful. The real-life footage of Alcala’s arrest and subsequent trial adds a layer of authenticity, grounding the film in the harsh reality of the events it depicts.
Yet, the film doesn’t linger on Alcala’s downfall; instead, it ends on a haunting note, with a reminder of the lives he destroyed and the systemic failures that allowed him to continue his rampage for so long.
Woman of the Hour is a bold directorial debut for Kendrick, who shows a deft hand in balancing suspense with a deeper commentary on gender and power. \Kendrick’s decision to focus on the women at the heart of the story—rather than glorifying Alcala’s crimes—sets the film apart from other entries in the true crime genre. It’s a film that asks difficult questions about how we value women, how we protect them, and how easily those protections can be stripped away.
Woman of the Hour not only narrates a serial killer’s story but also examines the daily threats women confront and the societal frameworks that sustain these threats. Kendrick has crafted a film that lingers long after the credits roll.Her performance as Cheryl is a powerful reminder of the quiet resilience required to survive in a world that so often overlooks or underestimates women.