Summary

Anna Kendrick directs and stars in “Woman of the Hour,” a film based on a true story that intertwines Hollywood dreams with the chilling reality of the “Dating Game Killer.” Kendrick’s directorial debut falls short due to tonal imbalances and poor editing. The lighthearted approach clashes uncomfortably with scenes of violence, creating a disjointed viewing experience. Despite its flaws, Kendrick shows promise as a director, using angles to shift emotions and displaying restraint in depicting violent sequences. While the film could have delved deeper into social commentary, it is still a fine debut worth watching.

Academy award-nominated actress Anna Kendrick has been in a plethora of films that capture varying experiences of her female characters. For the 2023 Toronto International Film Festival, she directs and stars in a tragic, based-on-a-true-story that intertwines one young woman’s hopes of making it big in Hollywood and the 1970s hit show, The Dating Game. It’s also the television show that once hosted Rodney Alcala, a contestant who turned out to be a serial rapist and killer and whose appearance coincided with his killing spree. Woman of the Hour details the events leading up to his TV debut and his eventual date with Cheryl Bradshaw (Kendrick). While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.

The story follows Cheryl Bradshaw as she adjusts to life in Los Angeles. Desperate to make her mark on Hollywood, Bradshaw spends her days practicing lines for upcoming auditions and going out to bars at night with her neighbor. When her manager calls with what she refers to as an opportunity that will get Cheryl seen, Bradshaw finds herself on the hit television series The Dating Game. Unfortunately for Cheryl, it also happens to be where serial killer Rodney Alcala (Daniel Zovatto) finds himself, and he’s right in the middle of a killing spree.

It’s disappointing to admit this, but Kendrick’s directorial debut doesn’t live up to its potential. Even from the opening sequence, where we find a young woman pouring her heart out to Zovatto’s Alcala (who does a decent enough job balancing the creepiness and charm), there’s an erratic shift in tone mid-conversation. As the story progresses, this doesn’t change much as the film navigates between the two leads’ perspectives. With Bradshaw, the script takes a more lighthearted approach in its storytelling to poke fun at the process of failing as a young actress in Hollywood and the navigation of that world as a woman. While it works in isolation, the jarring cutbacks to a murder/rape scene feel out of place and leaves us with a sense of discomfort in more ways than one.

The editing also does Kendrick’s feature debut no favors. It’s understandable that Bradshaw and Alcala’s stories would need to be told separately before they conjoined, but the editing is erratic, which also contributes to the lopsided tones. To make matters worse, the transitions in question leave no room for viewers to digest sequences they’ve just witnessed, especially when it’s an emotionally heavy one centered around violence. So, when there are flashbacks of sexual violence embedded around The Dating Game conversations (which are clearly there to elicit laughter), it feels wildly inappropriate and are ultimately poor decisions for the storytelling, essentially feeling like two separate movies in one.

Kendrick does find a way to reel her viewers back in thanks to her influence in front of and behind the camera. Her direction shows promise — she uses her angles to shift from curiosity and hope to devastation from the very opening sequence. Similarly, she practices much needed restraint when showcasing violent sequences. Of course, in 2023 that is to be expected, but her decisions here are still noteworthy. In front of the camera, Kendrick is her fabulous, charming self. She is so easy to root for and understands exactly what is needed for her character. Perhaps with better support, Kendrick will find another opportunity to spill her talents in the director’s chair.

It’s worth noting that not all is lost with Woman of the Hour. By regular entertainment standards, the film contains everything it needs to keep your attention. However, it could have definitely given us more. The police failed these women who fell prey to “The Dating Game Killer,” but the script makes the bare minimum effort to showcase that. Additionally, the overall story could have leaned a bit more into the commentary on dating during the 1970s and the differences for men and women. Despite these mishaps, it’s an overall fine debut. And upon a wide theatrical release, there’s no doubt in my mind that people will show up for Kendrick.

Woman of the Hour premiered at the 2023 Toronto International Film Festival. The film is 89 minutes and not yet rated.