Kendrick’s measured approach pushes against genre expectations — which will no doubt disappoint viewers accustomed to streamable docuseries. Yet that makes her film an assured subversion which elicits both engrossing chills and surprising humor.

A true-crime thriller that also operates as a damning commentary on societal misogyny—especially in Hollywood—it’s as chillingly sharp and canny as its deranged fiend.

Kendrick leans more into the dark comedy and general dread of the situation, winding the picture tighter the deeper she goes, and her work here is ambitious and impressive.

It’s a fascinating and frightening stranger-than-fiction tale and is an unusual choice for Kendrick’s directorial debut. She makes a convincing first-time film-maker, capturing the feel of a time and a number of places with ease.

Kendrick manages to make her film both weirdly entertaining and thoroughly disturbing.

Woman of the Hour likely won’t be the last re-telling of this shocking tale, but it’s hard to imagine a more perceptive take than the one Anna Kendrick provides.

Hollywood loves nothing more than a true-crime story about a serial killer, but a new movie directed by Anna Kendrick does a number on that familiar genre.

Woman of the Hour is a tight, smartly handled thriller that may stumble at times with its thematic ideas, but wins you over with its deft handling behind the camera.

Kendrick’s image as an actor isn’t necessarily tied to dark, edgy material, but as a director she shows a talent for staging scenes of Hitchcockian suspense alongside her signature wit.

While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.