Woman of the Hour Review: Anna Kendrick’s Directorial Debut Shows Promise but Suffers from Tonal Imbalances
Academy Award-nominated actress Anna Kendrick has carved a diverse path in Hollywood, often portraying female characters who navigate a range of complex emotional landscapes. In her directorial debut, Woman of the Hour, Kendrick takes on both roles as director and actor, presenting a film based on the chilling true story of Cheryl Bradshaw and Rodney Alcala. Alcala, a serial killer and rapist, appeared as a contestant on the popular 1970s TV show The Dating Game—a twist of fate that narrowly avoided turning Bradshaw into another of his victims. The film was showcased at the 2023 Toronto International Film Festival, drawing attention not just for its subject matter but for Kendrick’s transition from acting to directing. However, while the film shows great potential, it’s ultimately hindered by tonal inconsistencies and some questionable editorial choices.
Plot Overview: A Serial Killer Behind the Scenes of a Dating Show
Woman of the Hour tells the story of Cheryl Bradshaw (played by Anna Kendrick), an aspiring actress who, desperate for a break in Hollywood, agrees to appear on The Dating Game. What should have been a fun, lighthearted opportunity takes a sinister turn when Bradshaw unknowingly meets Rodney Alcala (Daniel Zovatto), a serial killer in the midst of his crime spree. The film shifts between Bradshaw’s journey as an actress and Alcala’s predatory behavior, with the tension building toward the unnerving realization that she could have become his next victim.
Kendrick’s film is framed as a thriller, but it also attempts to capture Bradshaw’s experiences in Hollywood and the absurdity of The Dating Game. It portrays the casual dangers that women like Bradshaw faced while pursuing their dreams in an industry fraught with exploitation and deceit.
A Promising Directorial Debut Undermined by Tonal Inconsistencies
Despite its gripping premise, Woman of the Hour struggles with tone throughout. The film shifts jarringly between the light, comedic portrayal of Bradshaw’s Hollywood struggles and the dark, violent realities of Alcala’s crimes. This dual approach might have worked with better execution, but the contrast between humor and horror is often disorienting. Kendrick attempts to juxtapose the surreal nature of Alcala’s Dating Game appearance with the grotesque violence of his off-camera life, but the tonal transitions feel abrupt and poorly handled.
One of the most jarring elements is the flashbacks to Alcala’s murders. While these scenes are intended to inject horror into the story, they are often placed in ways that disrupt the flow of the narrative. For instance, moments of violence appear right after lighter, humorous scenes, leaving viewers emotionally unprepared. Rather than building tension, these transitions detract from the emotional impact and create an uncomfortable viewing experience that lacks coherence.
Editing Choices That Miss the Mark
Another critical flaw is the film’s editing, which exacerbates the tonal inconsistencies. While it’s understandable that Bradshaw and Alcala’s stories would unfold separately before converging, the erratic cutting between their narratives disrupts any sense of rhythm. Sequences that should leave a lasting emotional imprint—especially those centered around Alcala’s violent acts—are undercut by abrupt transitions to more mundane or comedic moments.
These editorial decisions make it difficult for viewers to digest the weight of the scenes they’ve just witnessed. Particularly when scenes of sexual violence are juxtaposed with conversations from The Dating Game, the effect is jarring and, at times, feels wildly inappropriate. This mishandling of pacing and transitions detracts from the film’s impact, making it feel like two separate movies awkwardly pieced together.
Kendrick’s Strengths as a Director and Actor Shine Through
Despite the film’s shortcomings, Kendrick’s directorial debut is not without merit. She exhibits a clear eye for visual storytelling, especially in moments where she uses camera angles and lighting to convey the emotional landscape of her characters. Kendrick displays an impressive restraint when it comes to showing violence on-screen, knowing when to hold back and let the audience’s imagination do the work.
In front of the camera, Kendrick continues to excel. Her portrayal of Cheryl Bradshaw is filled with vulnerability and determination, making her character easy to root for. Kendrick brings a sense of grounded realism to the role, which helps anchor the film amid its tonal fluctuations.
Final Thoughts: A Debut with Potential but Room for Growth
While Woman of the Hour may not fully live up to its potential, it’s clear that Anna Kendrick has a promising future as a director. The film’s exploration of gender dynamics in 1970s Hollywood, coupled with its true-crime premise, offers a lot of material for a more refined narrative. Unfortunately, the tonal imbalances and editing missteps prevent the film from achieving its full potential.
However, for fans of Kendrick, both as an actor and a filmmaker, Woman of the Hour remains a noteworthy project. It demonstrates her ability to tackle complex stories and take creative risks, even if the execution falls short. With more experience behind the camera and better editorial support, Kendrick has the talent to craft a more cohesive and powerful film in the future.
Woman of the Hour will be available to stream on Netflix starting October 18, 2024. While not without its flaws, it’s a film that will likely draw an audience due to its intriguing premise and Kendrick’s star power.
Pros:
- Anna Kendrick shines both as an actor and director.
- The film shows promise in terms of visual storytelling.
Cons:
- Tonal inconsistencies detract from the film’s emotional impact.
- Poor editing disrupts the narrative flow and pacing.
Rating: 6/10
Though flawed, Woman of the Hour is a compelling look at a chilling true-crime story, and Kendrick’s directorial debut leaves room for growth and refinement.