(Caution: Spoilers ahead!)
The new release, *Woman of the Hour*, has revitalized Netflix’s true crime offerings, following some disappointingly sensational titles. Initially, it seemed that the streaming giant had lost touch with what audiences appreciate about the genre, but this thriller may just be a turning point.
This film, both directed by and starring Anna Kendrick, delves into the unsettling story of Rodney Alcala, infamously known as the Dating Game Killer. Alcala, a serial murderer linked to possibly 130 homicides, gained infamy for his appearance on the 1978 episode of the dating show *The Dating Game*.
In an unexpected turn, he won the game and was set to go on a date with bachelorette Cheryl Bradshaw. Fortunately, Bradshaw wisely declined this proposition, averting what could have been a deadly encounter. *Woman of the Hour* imagines the chilling scenario of what might have occurred if Bradshaw had accepted, producing some of the most spine-tingling moments on Netflix in recent memory.
The date that never transpired
Following the taping, Cheryl immediately contacted contestant coordinator Ellen Metzger to express her discomfort, stating, “I can’t go out with this guy. There’s weird vibes coming off of him,” and emphasized her lack of comfort.
Luckily, the date was canceled. However, in *Woman of the Hour*, Cheryl (portrayed by Kendrick) and Alcala (played by Daniel Zovatto) share a drink at a seedy bar the same night. While the narrative is fictional, the premise serves a significant purpose and is executed effectively.
As the two engage in conversation, Cheryl appears initially charmed by Alcala’s smooth demeanor, responding to his flattery and shared interests, including a comparison to Patti Smith. When Alcala praises her “soul,” Cheryl responds with a lighthearted laugh.
This genuine laugh seems to unsettle Alcala, causing a shift in his expression as he contemplates her teasing of his deep remark. From that moment onward, the mood drastically alters.
Cheryl continues with the conversation, while Alcala’s responses dwindle. The charismatic figure she initially admired fades away, replaced by an eerie stillness that raises alarm bells in Cheryl’s mind, signaling that something is amiss.
The predator and his prey
As the scene unfolds, all background noise ceases, leaving only the two of them alone in an eerily silent bar, their dialogue intensifying the tension. When Alcala offers to escort Cheryl to her car, parked alone in the dark expanse of the lot, her hesitation signals a haunting red flag.
Firmly asserting her autonomy, Cheryl declines to accompany him and begins to walk away. However, Alcala’s unsettling mutter, “…You’re gonna get your f**king head bashed in,” reverberates in the empty space, a reminder of the danger that looms.
As Cheryl hurriedly makes her escape, seeking distance from Alcala’s composed presence, the realization dawns: she has unwittingly stepped into a horror narrative.
A masterclass in tension
*Woman of the Hour* not only serves as an exploration of Alcala and his gruesome actions but also highlights how quickly a comfortable atmosphere can shift into discomfort. This unsettling encounter is among Cheryl’s numerous experiences of disconcerting conversations with men, yet it stands out as the most distressing.
The way this scene is executed makes it one of the film’s most potent moments, reminiscent of a tense sequence in a David Fincher thriller.
Most of the film unfolds under the bright lights of a TV studio, filled with the sounds of laughter and applause from the audience. When Cheryl transitions from that vibrant world to Alcala’s sinister proximity, the ambiance becomes charged with unease, never reverting to safety.
The dread heightens in the stillness. Once the external noises fade and Cheryl recognizes her discomfort, the silence becomes almost suffocating.
This remarkable scene underscores Kendrick’s competency as a director, showcasing her talent in creating a hair-raising sequence. It evokes a feeling where one wishes to be in a theater, sharing the collective tension of an audience holding their breaths at the same gripping moment.
Furthermore, while her fictional encounter does not alter the actual events, which ultimately led nowhere, it provides an opportunity to scrutinize Alcala’s persona beyond his vicious crimes.
In this case, the hypothetical scenario delivers more terror than the reality, offering viewers a chilling perspective on the swift transition from safety to horror through Cheryl’s experience.
This firsthand experience of confronting malevolence through the screen makes *Woman of the Hour* distinctively scarier than any traditional horror trope involving clowns or demonic themes.
For more movie recommendations, check out our list of the best films of the year.
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