Khoi Vinh’s review published on Letterboxd:
Anna Kendrick’s directorial debut captures the essence of female unease in a world where power is tilted against women, but that core is surrounded by a shambles of plot threads and context setting. To give us the background on the serial killer at the heart of this “Zodiac”-style drama, Kendrick employs a nonlinear chronology that does her few favors. There are multiple instances where the details she’s trying to relate to us are objectively confusing, due to some combination of poor editing and/or details that must have been left on the cutting room floor. The performers largely fail to come to her rescue too, with most turning in utility player-level renderings of a fairly clunky script. The lone exception might be Daniel Zovatto as murderer and rapist Rodney Alcala, who delivers an appropriately unsettling vibe even if he can’t quite square the homicidal and charming halves of the underwritten role. (In fairness, screenwriter Ian MacDonald leaves tons about Zovatto’s role unexamined, including how he even got to be a contestant on the game show that’s the centerpiece of this story.) All that said, Kendrick fully understands the existential dread that her female characters experience in this grim landscape. The climactic scene, which consists of little more than two characters in an empty parking lot, silently negotiating social norms and mortal fear, is superbly done. Too bad there weren’t more opportunities for Kendrick to showcase that kind of insight in the rest of this mostly forgettable Netflix catalog filler.