‘Woman of the Hour’ Movie Review: Anna Kendrick’s Directorial Debut Is Sharply Constructed, Weakly Scripted
Photo from Netflix
From Joe Peltzer
The transition of a star from in front of the camera to behind the camera is one that is often a fool’s errand; not all actors have an eye for the details that go into constructing a film. Anna Kendrick successfully traverses both ends of the spectrum with a dynamite performance and sharp direction, but Woman of the Hour suffers from a defanged interpretation of an otherwise tantalizingly gripping true story.
After a number of failed auditions, aspiring actress Cheryl (Kendrick) accepts an opportunity to be a guest on a dating gameshow, an experience where she will unknowingly cross paths with a serial killer (Daniel Zovatto as Rodney Alcala). Kendrick is exceptionally comfortable in her role, exuding the confidence we have come to expect from such a talented actor. As her character recognizes her chance to throw the script away and have fun with her appearance, it almost feels as though the true Kendrick is shining through Cheryl, a calm, cool, fun demeanor. Tony Hale is a nice addition in his small role as the host of the show, his growing disgust with Cheryl becoming more and more evident before climaxing with a hysterical line delivery. Overall, however, it’s Zovatto who impresses as the unassuming killer disguised right out in the public by an endearing demeanor. In the scenes where his killer instincts take flight, his subtle switch in temperament is cold and violent, complimenting the tense atmosphere Kendrick’s direction establishes. We never quite cross the finish line in terms of seeing what is happening, however, which does lead to a feeling of undelivered payoffs.
The story unfolds over many years with Woman of the Hour vacillating between time periods. Executed with purpose, such as a mechanism can be effective, however here it leads to interrupted plot progression and an ultimate feeling of repetition. At some point, we know what is going on and the revisiting of past crimes, as hollowly delivered as they are, does little to advance the film itself or pay homage to the victims. All of the build up leads to a disappointing climax between Cheryl and Rodney that is filmed more tensely in the moment than it feels after, Kendrick’s character’s strength on full display, but the story’s progression and the aftermath a let down. From their last altercation (hours after their first), Woman of the Hour comes to a speedy conclusion, concluded with more detail in the words on the screen before the credits than present in the entire film.
The central issue, therefore, is in Ian MacAllister McDonald’s script, a neutered exploration of an otherwise fascinating true story. In the absence of an intriguing retelling of the events, McDonald (and Kendrick) seems more interested in making a statement about how women were viewed and used, both in the entertainment industry and society, at the time. That’s efficaciously delivered with refreshing clarity, but weakly supported by the rest of the screenplay.
Mechanically all is sound with Woman of the Hour; the cinematography is engaging, the sound design on point, and the overall ambience effective for the story being told. Kendrick’s attention to detail is impressive, from the transitions between scenes to the moods established by the juxtaposed settings (and lighting). It’s a beautiful house with a lackluster interior, a slab of lipstick on a pig. Woman of the Hour showcases Kendrick’s many talents, but fails to leave a lasting impression.
Rating: 2/5
Woman of the Hour hits Netflix on October 18th, 2024.
