RG9400

5/10

Woman of the Hour is most compelling when focused around Anna Kendrick, but despite the brisk 95 minute runtime, it often cuts away from her and her storyline to follow other characters, sometimes at different points in time, creating a sense of choppiness that eventually makes the story lack cohesiveness. Her character joins a dating show that features a serial killer, while other segments show the serial killer operating throughout time. Those segments are not told chronologically, and sometimes even they get split up across multiple scenes. This prevents the movie from really having any sort of flow to it. For example, they'll suddenly jump forward in time, then back in time, then forward again to the earlier story. The worst part is that there doesn't seem to be a purpose in splicing up the story like this. Because Anna Kendrick is directing, the female perspective prevents the movie from necessarily feeling exploitative in these scenes, but they don't really seem to be building up anything in terms of themes regarding women being ignored (much better explored in Kendrick's own storyline). I think the end goal was to just showcase how creepy the killer was and how dangerous simple interactions can be for women, but this did not require the strange editing decisions. More importantly, it distracts from the dating show storyline which is the most engaging part of the movie, both in terms of delivering themes as well as just in terms of making me invested in what was happening. Unfortunately, the other scenes distract from this story. However, by the end, this dating show story doesn't actually make that much of a difference, and that's probably why she felt the need to include the rest of the scenes...it isn't a complete story on its own. I respect the noticeable changes in the way the killer and his killings are depicted due to the female perspective, and I liked seeing her tackle some of the more casual misogyny, but I think she was unable to spin it all together into a cohesive whole.

heyflp

10/10

“Woman of the Hour,” Anna Kendrick’s directorial debut, is the kind of film that hooks you, unsettles you, and sticks with you long after the credits roll. Inspired by the real-life story of Rodney Alcala, the serial killer who shockingly appeared on The Dating Game in 1978, the movie transcends the label of a “true crime thriller” to deliver a chilling analysis of gendered violence, the society that enables it, and the power of perception. Kendrick, who also stars as Sheryl, the contestant who “picks” Alcala, displays a surprising maturity behind the camera. Her direction is deliberate, uncomfortable, and steers clear of the sensationalism that often plagues true crime stories. By focusing on everyday tensions—the stares, the unwanted touches, the moments when women must “perform” to survive—she crafts a suffocating atmosphere that mirrors real-world experiences of countless women. Daniel Zovatto’s performance as Alcala is pivotal to the film’s impact. He seamlessly shifts between seductive charm and menacing brutality, embodying the duality that allowed the real-life Alcala to fool so many. Kendrick, meanwhile, keeps the camera trained on him with a relentless gaze, capturing subtle shifts in his expressions that give you a glimpse of the terror his victims must have endured. Ian McDonald’s screenplay is smartly structured, digging deeper than Alcala’s crimes. It probes how societal norms and seemingly harmless misogyny lay the groundwork for violence. The sequence on The Dating Game set is particularly telling: while Sheryl navigates the casual sexism of the host (Tony Hale, perfectly irritating), the audience laughs and claps along. It’s a microcosm of a culture that marginalizes women while forcing them to play along in games they can never truly control. Kendrick’s use of silence and ambient sound to build tension is masterful. The violent moments aren’t shown in graphic detail; instead, they’re filmed from a distance or through tight, obscured close-ups, highlighting the emotional reactions of the victims rather than the act itself. This choice not only prevents the film from becoming voyeuristic but also forces the audience to confront the discomfort of witnessing such moments. The narrative is driven by unspoken exchanges—between victims, bystanders, and complicit onlookers. These glances, like when Sheryl shares a subtle signal with a waitress to stop refilling her drink, or when Amy (Autumn Best, in a visceral performance) desperately tries to catch someone’s attention while trapped in Alcala’s car, convey the unspoken language of survival. Every look carries a deep emotional weight, emphasizing the film’s central theme: what it means to truly be seen in a world that so often denies women that dignity. Visually, Kendrick recreates a 1970s aesthetic that is not just nostalgic but disturbingly authentic. The color palette, costumes, and lighting transport viewers to an era when women were constantly judged and shaped by the male gaze—a reality that remains all too familiar. The soundtrack, heavy on ambient noise and eerie silence, heightens the sense that something awful is always lurking just beneath the surface. “Woman of the Hour” stands apart from similar films by refusing to focus on the killer’s psychology or the mystery of his crimes. Instead, Kendrick critiques the society that not only permits but often facilitates such atrocities. Her camera challenges, questions, and defies the expectations of the genre. There’s no glamorization of violence here—only a sharp, incisive examination of how the male gaze can simultaneously allure and destroy. With “Woman of the Hour,” Anna Kendrick demonstrates an impressive command of cinematic language and a rare sensitivity for telling stories that matter. This isn’t just a movie about a serial killer; it’s a powerful meditation on fear, power, and resilience. Above all, it’s a film that demands to be watched—and understood—with attentive eyes and a willingness to confront uncomfortable truths.

sophiaso

8/10

Stellar acting, great directorial debut. My stomach was in knots from the beginning until the end, and the very first kill at the very beginning of the movie unlocked a new fear that I hadn't considered until now, luckily. I disagree with the comments that the time jump made the movie less impactful. If anything, for me, it made it more obvious that he continued his ways for years. It is certainly a rarely seen take on a serial killer: the important part is not the names or circumstances of the victims; this movie does not want to delve into the mind of the killer or the victims, nor does it want to show the acts. For me, it's about the lingering unrest, the eerily portrayed charm and many times, "normalness" or even kindness of the killer, and the seemingly random encounters where one might indeed be in grave danger, even today. Yes, the Dating Show itself that seemed like the main part of the movie from the ads is less significant than anticipated, but as one of the very particular and frightening encounters that both figuratively and literally shine a light on that a serial killer can be anywhere, even in plain sight, is important.

Acoucalancha

6/10

>*"It was evil and soul crushing, but... I had a little fun."* This killer might not wear an actual mask like Michael Myers does but he most certainly has a mask. ***Woman of the Hour*** is a look at the masks people choose to show you and what happens when you break that façade, do we really know anyone? Solid performance from Daniel Zovatto, one odd look is enough to drop his façade and throw someone into a panic. He is fascinating and drives this movie from start to finish. I wish we learned a bit more about his past or why he does all this but a lot of it is done between the lines. The Dating Game storyline is so predictable from the moment Zovatto shows up on stage, it's good social entertainment but the outcome is too predictable. Anna Kendrick's character is hard to root for, she didn't deserve to be the main character any more than the younger girl did. It's very character driven but I wish the story had more going on. We follow a few mini storylines with other characters but they're not developed enough. And where's the rest of the story with the younger guy with the blue shirt, that went nowhere? Too much exposition at the bar/restaurant with Kendrick but at least it was an entertaining conversation. The once very calculated and intelligent serial killer turned absolutely braindead dumb in the final act, that can't be the real life story, or they just made him too intelligent in the movie prior to this... something doesn't add up because he totally broke out of character.

Narate

0/10

> "I feel looked at." This is a pretty solid directorial debut. The topic is heavy and very sad but a reality for many. I would say that I was surprised at how this story was told, but it does pack a punch even during slower moments where you don't expect it to. I recommend people read up on the real story to see how truly awful this person was.