Reviewed by Jeffrey Sanzel

In the world of truth-is-stranger-than-fiction, Netflix’s Woman of the Hour tackles the story of serial killer Rodney Alcala and his September 13, 1978, appearance on The Dating Game. Directed by Anna Kendrick and written by Ian McDonald, the film tells the story through bachelorette Cheryl Bradshaw (played by Kendrick), who selected him, focusing on her experience on the show and dealing with systemic sexism. The film premiered on September 8, 2023, to a positive response at the Toronto Film Festival.

Actor Bradshaw scrapes by in Los Angeles, attempting to make her way into film and television. “I’m working very hard and accomplishing very little,” she reflects. After a particularly depressing audition, her agent gets her a spot on the popular game show. Reluctantly, Bradshaw agrees to appear. The film is mostly taken up with the time from her arrival at the studio through her segments on the show. Intercut are several of Alcala’s horrific rape and murders, beginning with one in Wyoming in 1977, which opens the film.

During the show’s taping, Bradshaw goes rogue, changing the questions to more pointed and revealing interrogations of the three bachelors. The first proves to be a bit of a fool, the second inappropriate, with Alcala coming off as smooth, witty, and a touch thoughtful. 

Bradshaw chooses Alcala, and the second bachelor warns her not to go near him. After leaving the studio, Bradshaw and Alcala have a few drinks in a nearby bar. Quickly, Bradshaw realizes that there is something off about him and exits the bar with him in pursuit. She is only saved by a group of men coming out of the studio.

In her directorial debut, Kendrick proves to be first-rate. She instinctually knows what to show and when to pull back, maintaining a constant tension in the film’s brisk ninety-minute running time.

Sometimes, Alcala’s crimes are shown in all their horror; other times, they are suggested by a sun-drenched landscape with just the sound of the victim. The film is spot-on as an indictment of toxic masculinity and misogyny leading to violence. In both the casual dismissal of women to the horrific rape and torture, Kendrick creates a taught, unflinching, and brutal film. Even the use of Alcala’s photography, particularly the enhanced sound of the shutter clicks, adds to the exceptional storytelling. Additionally, the film captures the visual and auditory essence of 1970s California.

Some of the film’s wisdom is courtesy of the make-up artist, Marilyn (a very strong Denalda Williams): “Is it possible to get a guy in this town who isn’t a total maniac?” Later, she follows this up: “The question beneath the question. Which of you will hurt me?” Her casual statement delivers a wallop and succinctly but pointedly expresses the overall thesis.

As a true crime docudrama, Woman of the Hour is less successful. McDonald has fictionalized a great deal for storytelling purposes, and one must at least pause to consider the validity of the choices. Most viewers will take the film at face value without looking into the actual facts and history. Since the film is short, much information is changed or left out.

The only subplot deals with an audience member, Laura (Nicolette Robinson), recognizing Alcala as the man who most likely murdered her friend after a beach party encounter. The way the security guard deals with her accusation is chilling. Unfortunately, Laura is a fiction. This is one of many introduced changes and additions without indicating where liberties were taken. In reality, Bradshaw stuck to the innuendo-laden questions, and the bachelors were dissimilar to the film’s counterparts.

Kendrick, a first-rate actor, shows dimension, fear, strength, and resolve. Always watchable, she delivers at every moment. Daniel Zovatto succeeds in making Alcala wholly plausible—a sadistic, dangerous, and threatening narcissist who knows how to turn on the charm. Tony Hale is appropriately sleazy and short-tempered as the gameshow host Ed Burke, based on Jim Lange. Some of the finest moments belong to Autumn Best as the runaway, Amy, who survives Alcala’s attack. Her raw performance resonates to her final cut-off scream. (However, the reality of the runaway’s story is very different than that offered in the film.)

At the time of his appearance on The Dating Game, Alcala was responsible for the murder of five women and the attempted murder of eight-year-old Tali Shapiro; he was on the FBI’s 10 Most Wanted Fugitives List. He had served thirty-four months for child molestation and spent two-and-a-half years in prison for giving drugs to a thirteen-year-old girl. 

Because there were no background checks—or vetting of any kind—Alcala easily landed a spot on the show. Two years after his Dating Game appearance, Alcala was convicted of the murder of twelve-year-old Robin Samsoe and sentenced to death. The overturned verdict caused a 1986 retrial, where he was found guilty and sentenced to death (the ruling was overturned in 2011). While remaining on California’s death row, he died at the age of natural causes at the age of seventy-seven. Some of this information is presented in the final scroll, but most are not. Alcala was directly linked to eight murders, but his actual crimes could have encompassed up to one hundred and thirty victims. 

Those looking for a detailed account of Alcala’s crimes should seek the three-part documentary series Dating Death. However, viewers open to more flexible telling will find that Woman of the Hour viscerally lays bare both the killer and danger of a hyper-toxic macho culture.

Rated R, the film is now streaming on Netflix.