Movie review: Woman of the Hour

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If you’re a fan of true crime and horror, Woman of the Hour is a must-watch that’s equally gripping and unsettling. 

Anna Kendrick’s thriller, inspired by real events, takes us to a chilling moment in the 1970s when Sheryl Bradshaw, a hopeful Hollywood actress, found herself face-to-face with Rodney Alcala — a serial killer — during a T.V. dating show. 

This film doesn’t just depict a harrowing encounter but delves deeply into the themes of female survival, self-protection, and the ever-relevant struggle for women’s voices to be heard.

As Kendrick’s directorial debut, Woman of the Hour reveals her keen insight into the intricacies of these issues, avoiding sensationalism while keeping the terror real. Kendrick dives straight into the action with an opening scene that refuses to hold back, establishing an atmosphere so intense that it grips you from the beginning. 

In portraying Bradshaw, Kendrick eschews the typical horror movie victim trope, making her strong and resourceful in a way that feels like a tribute to the real Cheryl Bradshaw.

Daniel Zovatto is haunting as Alcala, who is depicted as charming and manipulative yet terrifyingly human. It’s a jarring reminder that serial killers often hide in plain sight, exploiting societal norms that encourage women to be “polite” and accommodating. 

In one unforgettable scene, Bradshaw’s intuition warns her that something isn’t right, and she quickly tries to end her date with Alcala. Yet the subtle cues from both Zovatto and Kendrick create an unnerving tension, as Bradshaws’s instincts are constantly challenged by the pressure to appear “nice.”

While Kendrick’s Woman of the Hour is a thriller, it’s also a commentary on the realities women continue to face, making it all too relatable. The film may be set in the 1970s, but its message resonates across decades, highlighting how society’s dismissal of women’s boundaries can lead to horrific consequences. 

Though some viewers might feel relieved that this story took place decades ago, many women won’t have that luxury. Kendrick’s approach to storytelling is restrained and insightful, addressing complex dynamics with nuance rather than graphic violence. 

The supporting cast, including newcomer Autumn Best as Amy, a runaway pursued by Alcala, is remarkable. These women aren’t just reduced to victims in the storyline — each gets her moment of depth, as Kendrick positions them not only as Alcala’s targets but as individuals with dreams and ambitions. 

They’re depicted as fully realized people rather than faceless names or statistics, a touch that brings weight and humanity to their portrayals.

Kendrick makes deliberate choices in how she approaches Alcala’s character. He’s not a detached, fictionalized “boogeyman” like Michael Myers, but rather a man who seems uncomfortably real, all the more unsettling for his tears and occasional panic. This portrayal reminds us that monsters don’t always look monstrous — sometimes, they’re just men who blend in, hiding malice behind charm.

The film’s unorthodox pacing — intense but brief — mirrors Alcala’s horrifyingly minimized conviction, representing only a fraction of the lives he impacted. This choice leaves a lasting impression, highlighting the scale of his crimes and the broader systemic failure that prevented justice for many. 

While assertiveness or cautious survival instincts protect some characters, Kendrick doesn’t simplify the narrative by implying that any one behaviour could have changed the outcome for all. 

In one standout moment, it’s a character’s seemingly small, submissive action that ultimately leads to justice, reinforcing the unpredictable and often harsh realities of navigating dangerous situations.

Woman of the Hour is a powerful addition to true crime cinema and a bold start to Kendrick’s directorial journey. If you’re a true crime enthusiast, this film’s suspense, layered storytelling, and social commentary will stick with you.

Add it to your watchlist — it’s one you won’t want to miss.