Anna Kendrick‘s first foray into directing with Woman of the Hour is a tense, unsettling crime thriller that brings the notorious story of Rodney Alcala—’The Dating Game Killer’—to the screen in a gripping, psychological narrative. Kendrick herself stars as Cheryl Bradshaw, a contestant caught in a deadly web, delivering a nuanced and commanding performance in a film that strikes a balance between real-life horror and cinematic suspense.

Premise:
Woman of the Hour is a harrowing dive into one of the most chilling true-crime tales of the 1970s, where reality and horror intertwined on national television. Directed by Anna Kendrick, who makes her debut behind the camera, the film focuses on the shocking events surrounding Rodney Alcala’s appearance on the TV show The Dating Game. Alcala, played with eerie precision by Daniel Zovatto, was already an active serial killer when he participated in the game show, winning a date with Cheryl Bradshaw (Kendrick). What follows is a taut thriller that skillfully unfolds the unease that existed both in Alcala’s public appearance and the far darker, hidden life that made him one of the most notorious figures of his time.
Kendrick makes for an amazing director:
Kendrick’s direction is meticulous, with every scene filled with underlying tension. The film’s atmosphere teeters between the kitschy pop-culture of 1970s television and the dark menace of Alcala’s violent tendencies, creating an unsettling contrast that heightens the sense of dread. Kendrick’s portrayal of Cheryl Bradshaw, while understated, carries the emotional weight of a woman unknowingly pulled into a vortex of danger. Through subtle gestures and expressions, Kendrick brings to life the growing sense of discomfort Bradshaw felt, particularly during the game show, offering the audience a front-row seat to her mounting suspicion.
The film’s structure alternates between the public spectacle of The Dating Game and the private atrocities of Alcala’s killing spree, which creates a narrative that keeps viewers on edge. In one moment, we see the colorful, seemingly innocent fun of the game show, complete with its canned laughter and cheesy banter, and in the next, we’re thrust into Alcala’s world of manipulation and violence. Kendrick and writer Ian McDonald effectively weave these two worlds together, showing how Alcala’s charm and performative persona could so easily disguise his monstrous side.
Zovatto is terrifying:
Zovatto’s portrayal of Alcala is deeply unsettling. His performance captures the duality of Alcala: a man who could appear normal, even charismatic, in front of an audience, while concealing a sinister truth. Zovatto masterfully navigates Alcala’s chilling calm, his calculated nature, and the disturbing thrill he derives from his control over others. The scenes where he participates in the game show, charming the audience and Bradshaw with his smirking confidence, are juxtaposed with flashbacks to his murders, revealing the true predator beneath the facade.
What stands out most in Woman of the Hour is the slow, creeping realization that something is terribly wrong. Kendrick’s direction ensures that even as Alcala appears to be winning over everyone on screen, the audience is always aware of his true nature, creating an unbearable tension that doesn’t let up. Each interaction, every glance or word, takes on a disturbing significance, as we know Alcala’s crimes are not just in the past, but ongoing during his moment in the public spotlight.
Supporting cast:
The supporting cast adds depth to the film, particularly Nicolette Robinson as Laura, a fellow contestant on the show, and Tony Hale as Ed Burke, a character based on the show’s real host, Jim Lange. Robinson brings an empathetic performance, representing the more naïve, light-hearted side of the show’s contestants, unknowingly playing into the entertainment value of Alcala’s facade. Hale, meanwhile, offers a layer of unintentional complicity, as Burke (Lange) unknowingly contributes to the uncomfortable dynamic by playing up the flirtatious energy that was part of the show’s gimmick.
Writing:
Kendrick and McDonald’s approach to storytelling is careful not to glorify Alcala’s crimes. Instead, the film remains focused on the broader implications of how entertainment and violence intersect, questioning how easily people can be deceived by outward appearances. Rather than indulging in gruesome details, Woman of the Hour emphasizes the psychological horror of Alcala’s manipulation, both in how he fooled those around him and how easily his outward charm masked his dangerous nature.
The decision to center the film around the game show and its aftermath proves to be effective. By anchoring the narrative on Cheryl Bradshaw’s experience, Kendrick gives voice to a victim whose story had long been overshadowed by Alcala’s notoriety. The film allows Bradshaw to be more than just a footnote in Alcala’s history, as it shows the impact the encounter had on her.
Flaws:
If the film has any missteps, it’s that it sometimes lingers too long in its quieter moments. While Kendrick’s restraint is largely a strength, giving the film a slow-burn quality that matches the suspense, there are moments where the pacing feels sluggish. The middle section of the film needed a tighter edit to prevent the loss of narrative momentum and keep the tension building up towards the final act.
Additionally, while Zovatto’s performance is terrifyingly effective, there are times when the film could have delved deeper into Alcala’s psyche, exploring what drove him to commit such heinous acts. However, Kendrick’s choice to focus more on the victims and their perspective keeps the film from veering into exploitative territory, and in that sense, the decision not to humanize Alcala too much is ultimately a smart one.
Overall:
Woman of the Hour is a bold and impressive directorial debut for Anna Kendrick, who shows a deft hand at balancing suspense, true-crime drama, and social commentary. While the film isn’t without its pacing issues, it more than makes up for it with strong performances, particularly from Kendrick and Zovatto, and a narrative that shines a light on a dark chapter in television history. By centering on Cheryl Bradshaw’s experience, Kendrick offers a fresh perspective on a familiar story, making Woman of the Hour a crime thriller that’s both haunting and thought-provoking.

Acting – 9/10

Cinematography/Visual Effects – 9/10

Plot/Screenplay – 9/10

Setting/Theme – 9/10

Watchability – 9/10

Rewatchability – 7/10

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