Movie Review: Woman of the Hour
One-liner: Strong co-lead performances, deft direction and a timely social commentary power this muddled but compelling crime mystery drama.
Woman of the Hour is a chilling crime mystery drama directed by Anna Kendrick and written by Ian McDonald. Anna Kendrick is best known for her roles in Up in the Air, Pitch Perfect and A Simple Favor having made a name for herself when it comes to comedy with smart performances typically underscored by quirky roles with great timing and witticism. She has ventured behind the camera for her directorial debut based on a true story about real-life serial killer Rodney Alcala who authorities believe is linked to 130 murders.
The film captures the serial killer’s modus operandi as an amateur photographer who preys on women and contrasts this with the attempts of an aspiring Hollywood starlet trying to get her big break. Sheryl is trying to get some acting work and is forced to take a gig on a dating game show in order to be seen and get noticed. Flashbacks to previous victims provides an unsettling context to The Dating Game TV show where the serial killer was a contestant in 1978.
Much like Money Monster and the King of Comedy there’s an overarching social commentary at play, set against the tension of a fluff TV show. Instead of a hostage situation, Woman of the Hour takes a more subtle approach, using its sharp screenplay to pick at the seams of gender politics, misogyny, victim-blaming and the perpetuation of systemic injustices.
Set in the 1970s this atmospheric and dark crime thriller follows a non-linear timeline in its retelling of this strange true story, immersing audiences in the life and times. To bring this true story to life, the film reconstructs the era’s vibrant colours and retro aesthetics without leaning into Anchorman territory. The wardrobe and hair is softened and subtly handled to avoid reaching the point of distraction. Much like the sensitive direction, this approach is most welcome adopting an artful edge and offering impact value without bordering on gratuitous violence.
“Do you kiss and tell bachelor no. 3?”
Excellent performances from Anna Kendrick and Daniel Zovatto keep this film taut and compelling, offering some nuance to the stereotypes of a Hollywood starlet and serial killer, two staples of American pop culture. Kendrick is resilient in the face of her vulnerability, delivering in front of and behind camera. Best known for Don’t Breathe and It Follows, Zovatto is no stranger to unsettling films and keeps his enigmatic character see-sawing. The story weaves in and out of their perspectives as their paths converge to a cheesy dating game. Then, it’s amusing to find Tony Hale as the dating gameshow host with a tip of the hat to the cornballer scene in Arrested Development.
Woman of the Hour is a visually-captivating blend of 1970s nostalgia and chilling suspense. Kendrick directs with a creative eye, using the film’s period setting to great effect as naive and subversive worlds collide. The visual style uses light and shadow to latch onto the film’s dark and uneasy undercurrent.
A promising directorial debut, Kendrick shows her understanding of the medium by swathing rather than manipulating, operating with great restraint. The filmmaker coaxes the characters out who are airdropped in a situational dynamic rather than plumbing their characters for drama. The politics and psychology of these tense scenarios is what adds layers, mining the times in order to show how systemic misogyny was and is sustained.
A startling indictment that reverberates today, Woman of the Hour serves as a cautionary tale and a conversation starter showing how a charming sociopath was able to leverage the system in order to lure his victims out into the open. Appealing to vanity, playing into the idea of being a great listener and a shoulder to cry on, Woman of the Hour dismantles some of the clichés associated with ideal bachelors and serial killers. Unmasking Rodney Acala’s character in the opening scene, the film shows the complexities of the duplicity and trickery involved.
The violence is disturbing and unsettling, testament to Kendrick’s direction and the subtle approach thanks to a tightly wound script, solid performances and deft direction. While the narrative is a bit muddled and hard to track as it jumps back and forth in time, Woman of the Hour adds up to compelling viewing. Kendrick holds a mirror up to society but the elegance with which she does so makes this ugly reflection more bearable.
A finely crafted social commentary and suspenseful thriller, clever interludes and slow-boiling tension make this a provocative and thoughtful crime drama. While it may not have the story focus, pacing or straightforward serial killer movie appeal to latch everyone’s attention, it serves its purpose as a message movie and sets the platform for Kendrick’s promising directorial career.
The bottom line: Ingenious
