REVIEW: “Heretic” (2024)

As a film critic with a penchant for psychological horror and a soft spot for Hugh Grant’s exceptional acting career, I must say “Heretic” has left me spellbound. This movie is a testament to the power of faith, or lack thereof, and a chilling exploration of obsession that stands out in the crowded horror genre.

One intriguing rephrase: The blend of psychological terror and the charm of Hugh Grant is an offer I can’t refuse, and it forms the basis of one of this year’s most thought-provoking films. In “Heretic,” Grant embodies a sophisticated and polished Englishman who entices two young Mormon missionaries into a chilling game of cat and mouse. This tantalizing role seems tailor-made for the second chapter of Grant’s remarkable acting journey.

The film “Heretic” is a creation from the writer-director duo Scott Beck and Bryan Woods, known for their 2023 science-fiction thriller “65”. Unlike their previous work, “Heretic” offers a unique exploration of belief systems or, from another angle, disbelief. While many horror movies focus on religious fanatics misusing their faith in sinister ways, Beck and Woods present a fresh perspective that is just as chilling.

The novel “Heretic” initiates by presenting us with two young missionaries, Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher), who belong to the Church of Jesus Christ of Latter-day Saints. Sister Paxton is deeply devoted, while Sister Barnes leans more towards worldliness. They journey to a house on the edge of town in response to a request for additional church details. As a storm starts to gather, they knock on the front door and are warmly welcomed by Mr. Reed (Grant), a friendly British man with a questioning attitude towards faith.

Mr. Reed asks the girl if she’d like to step inside to avoid the rain, but they politely refuse, explaining they aren’t permitted unless a female companion is there too. He then shares that his wife is busy baking a pie in the kitchen, making them change their minds. Though it seems risky from the start, Mr. Reed’s charismatic nature and friendly demeanor are so persuasive, you can almost feel the pull to go inside with each warm smile and gentle word – even we find ourselves hesitant.

In the living room, the trio settles down, and the girls initiate their meticulously practiced speech. However, Mr. Reed politely interrupts with an assortment of questions – some delving into church history and Mormon teachings, others as casual as preferred fast-food joints. This intriguing dialogue subtly uncovers Mr. Reed’s (and the film’s) darker motives.

I’d be hesitant to say more on the subject. As previously stated, what started as a delightful conversation transformed into a psychological game of cat-and-mouse, ultimately leading to an ominous and sinister third part. Sister Paxton and Sister Barnes must tread carefully through the tricky terrain of faith versus skepticism if they hope to escape Mr. Reed’s intricate mansion unscathed.

For roughly the last 20 minutes, “Heretic” adopts a traditional horror movie structure, but it consistently maintains its unique originality and underlying tension. The cleverly written script is among the year’s finest, skillfully exploring themes of faith and doubt while delving into the intense topic of extreme obsession.

In “Heretic”, it’s the exceptional acting that might be its strongest asset. Grant, in particular, shines, balancing his character between captivating charm and chilling sadism, delivering one of the year’s finest performances. He even manages to be hilarious at times, surprising us with an unexpectedly funny Jar Jar Binks impression. East and Thatcher also deliver convincing performances, creating a tense atmosphere by effectively portraying both innocence and fear. All three actors are outstanding and play key roles in the intricate web of terror that Beck and Woods have woven.

2024-11-12 18:56

REVIEW: “Heretic” (2024)

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