Anna Kendrick's Woman of the Hour tells the chilling story of a real-life serial killer who won the dating game

Anna Kendrick has long made a name for herself as Hollywood's jester, starring in now-classic films like Pitch Perfect, A Simple Favour, and Twilight (though even she's forgotten this one).

But in her directorial debut, “Woman of the Hour,” Kendrick convincingly swaps her comedic charm for something much darker — and it largely pays off.

Based on a true story, “Woman of the Hour” tells the disturbing story of how serial rapist and murderer Rodney Alcala managed to appear on and win the popular 1970s game show “The Dating Game” in the middle of a crime spree. His record? Up to 130 victims, mostly women.

But Kendrick's film isn't just about rehashing the crimes of a notorious murderer. Instead, it uses this shocking backdrop to question the pervasive misogyny and sexism of the time – and how little has unfortunately changed today.

Kendrick takes on the role of Sheryl Bradshaw (not to be confused with the real Cheryl Bradshaw), the leading lady who met Alcala in person in The Dating Game and even chose him as her final date. In a non-linear narrative format, we jump back and forth between the mock dating show and Alcala's interactions with his victims, announced by a charismatic, creepy Daniel Zovatto.

It's clear from the opening scene: Alcala is evil. But Kendrick doesn't just focus on that. “Woman of the Hour” explores the dangers of simply being a woman.

A line that will stay with many women comes when a makeup artist on the set of “The Dating Game” gives Sheryl some blunt advice: “No matter what words they use, the question behind the question remains the same…which one of you will get hurt.” .” Me?”

Visually, the film is steeped in warm '70s tones and cicada-infused soundscapes, but Kendrick is careful not to glorify the violence. There is no unnecessary brutality. Instead, it's about suggestion: a subtle shift in expression, a close-up of clothing, a careful set design – all conscious choices to respect the women at the center of the story.

But at times the film has a hard time figuring out which tonal path it wants to take. In one scene, Kendrick incorporates some of her trademark wit, throwing quick-witted digs at her would-be bachelors and quizzing them about relativity. While entertaining, the film feels off-kilter, shifting from a tense feminist thriller to bubbling “Girlboss”-esque dialogue that takes you out of the moment and leaves the film unclear about what it wants to be.

This is where Woman of the Hour doesn't quite land: it sometimes prioritizes clever one-liners over fully developed characters or a coherent narrative. The non-linear structure doesn't help either and makes the film seem scattered and fragmented. But when Kendrick leans into his darker material, it's a slam dunk.

A standout scene occurs after the show when Sheryl reluctantly agrees to go out for drinks with Alcala. As the unease between them grows, Sheryl silently signals the bartender not to bring another round, fakes her phone number, and walks to her car in the dark, knowing that Alcala is right behind her, watching her every move.

Kendrick's performance is nothing short of masterful, with tension and fear pouring straight from the screen. It's this depiction of the everyday dangers women face that really sets the film apart: the fear of walking alone at night; the constant self-doubt about whether this feeling is paranoia or instinct; the silent security calculations women make without realizing it.

Kendrick's message is clear: the threat to women isn't just limited to dark alleys or serial killers – it's present in seemingly mundane interactions and woven into the way women move through the world. always on alert.

Despite the occasional misstep, Woman of the Hour is a bold and fearless debut for Kendrick that proves she's capable of much more than comedy. Maybe it's time for her to leave the funny bone behind altogether.

“Woman of the Hour” is now streaming on Netflix.