Academy Award nominee Anna Kendrick delivers another strong performance and makes her directorial debut in “Woman of the Hour” from Netflix. Ian McDonald pens the film’s screenplay, featured on the 2017 Black List, an annual survey of the most popular scripts yet to be produced.
Cheryl Bradshaw (Kendrick) is an actress struggling to make it in La La Land when her agent suggests she appear on “The Dating Game” to boost her profile. Across the country, serial killer Rodney Alcala (Daniel Zovatto) is adding victims to his body count by posing as a photographer. Fate soon intervenes, and Cherly and Rodney end up on “The Dating Game”.
Against the vibrant backdrop of Los Angeles during an era of simultaneous glamour and danger, “Woman of the Hour” skillfully juxtaposes lighthearted dating scenarios with the looming presence of a killer in their midst. The film adeptly captures the era’s eccentric charm, featuring distinct fashion choices and vintage aesthetics while maintaining an underlying tension that captivates the audience.
Kendrick’s direction deserves praise for skillfully navigating the delicate balance between comedic and horrifying elements. The film’s pacing is precise, punctuated with moments of levity that heighten the underlying horror. This equilibrium keeps the audience engaged and on the edge of their seats, rendering each scene a masterfully crafted experience.
Kendrick’s portrayal of the naive yet determined protagonist, whose aspirations of stardom collide with almost sinister realities, is relatable and haunting, embodying youthful optimism amidst unspeakable danger. Conversely, Daniel Zovatto’s portrayal of the serial killer is chilling, capturing the unsettling charisma that enables him to captivate both the unsuspecting actress and the audience. This dual performance underscores the film’s central theme: the coexistence of allure and horror in love and the human psyche.
In addition to the performances, “Woman of the Hour” delves into the intriguing dynamics of fame and the facades people adopt. As the characters navigate the superficial world of television dating, the film poignantly explores themes of trust and deception, prompting viewers to contemplate how well they truly know those around them, particularly in an age dominated by appearances.
Cinematographer Zach Kuperstein’s work is visually compelling, striking a perfect balance between a game show set’s bright, glossy tones and the dark, shadowy corners of a city steeped in fear. The haunting score enhances the film’s atmosphere, echoing the tension that permeates every frame.
While “Woman of the Hour” excels in character development and suspenseful storytelling, it has flaws. Some narrative decisions may appear implausible, and certain characters could benefit from deeper exploration. However, these minor shortcomings minimally detract from the film’s overall impact.
“Woman of the Hour” is a daring and thought-provoking film featuring solid performances, a gripping screenplay, and an atmosphere that consistently keeps audiences on edge. This film is sure to leave a lasting impression.
Final Grade: B+
“Woman of the Hour” is now available to stream on Netflix.
For their second single, the group presented a ballad entitled “Feels Like The First Time.” Once again, Greene handles the lyrics, while Neville Hodge is responsible for production duties. Greene begins the song with robust energy, proclaiming his love for the lady. Greene’s group members provide stellar work on the background vocals, and the songs eschew nineties R&B without going into crass vulgarity.
The ballad was composed by Michael Masser and lyricist Gerry Goffin, and it was first recorded by Dionne Warwick in 1981. Eight years later, Natalie Cole covered the song, shortening the title. It became the fourth single from her twelfth album, “Good to Be Back.”
Braxton’s vocal talent is perfect on the standards “Christmas Time Is Here,” “Have Yourself a Merry Little Christmas,” and “The Christmas Song.” However, like any good R&B Christmas album, it is the soulful yuletide bops where Braxton truly shines. The album’s first single, “Snowflakes of Love,” is instrumental of Earl Klugh’s “Now We’re One”. Braxton’s lush vocals encapsulate the warmth and joy of romantic love amidst a wintery backdrop.