As a long-time admirer of Hugh Grant‘s acting prowess, watching him transform into the twisted and demented religious scholar in “Heretic” was nothing short of mesmerizing. The film is a unique blend of suspense, theology, and horror that challenges our preconceived notions about faith and belief systems.
You’ve probably encountered films that are centered around faith. Conversely, the movie “Heretic” presents a stark contrast. In this chilling, unpredictable thriller produced by A24, filmmakers Scott Beck and Bryan Woods (famously known for writing “A Quiet Place”) challenge viewers to embrace Hugh Grant as a fanatical religious scholar who goes to such extremes that he traps two Mormon missionaries in his home and subjects them to psychological torture with the aim of making them renounce their faith in Joseph Smith and all his teachings.
The lesson this peculiar individual has designed is a study of “Saw” similar to how shop class is taught, but remember we’re referring to Hugh Grant here. When his character, the seemingly ordinary and cordial Mr. Reed, opens the door, there’s no cause for the young visitors to doubt his intentions or his kind gesture of offering freshly baked blueberry pie.
In this scenario, two individuals are peddling salvation, while Beck and Woods offer something different – suspense. They rely on Grant’s unexpected portrayal of an uncharacteristic character to keep viewers guessing. Indeed, Grant does manage to keep the audience intrigued. Recently, the well-liked British actor has ventured into playing unsavory characters in Guy Ritchie films and even a humorous antagonist in “Paddington 2”. However, his role in “Heretic” requires him to delve much deeper into darkness than he’s ever gone before. This darker role is the movie’s main attraction, yet it also introduces an inconsistency in the film’s narrative logic.
The screenplay by Beck and Woods is thought-provoking yet not as deep as it initially seems, venturing beyond the norm for horror films. However, one might wonder why “Heretic” qualifies as a horror movie. Perhaps, its themes would have been more impactful in an academic setting, like a heated debate between two ambitious students and their condescending professor. But when Mr. Reed’s motives are revealed, the dialogue starts to seem not just pessimistic but borderline reckless.
As a passionate movie enthusiast, I’d rephrase it as follows: “In the opening scene of ‘Heretic’, I find myself seated beside Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher), in a park. We engage in an unusual discussion about Magnum condoms, with Sister Paxton expressing her belief that they’re the same size as standard condoms. This dialogue is quite unexpected from two women who adhere to the Church of Latter Day Saints and practice abstinence. It seems like a plot device deliberately crafted to captivate readers at the very beginning of a spec script, but it feels somewhat out of place when the audience has already purchased their ticket and is invested in the story.
Neither Paxton nor Barnes lack the practical background to validate their Magnum theory, yet they’re cautious enough to scrutinize its claims. This is exactly what Mr. Reed (representing Grant in the scenario) encourages them to do. He shared his contact details with the Mormon missionaries, welcomed them into his home, and now, with them serving as his attentive listeners during their largely unilateral theological discourse, he hopes they will concede that they are essentially salespeople promoting a questionable faith.
In “Heretic,” it seems Mr. Reed isn’t primarily engaging Paxton and Barnes in a debate about his beliefs. Instead, he appears to be speaking to the audience, who might find his perspective more appealing than two missionaries deeply rooted in their parents’ faith. (Barnes’ case is slightly complex due to her past near-death experience, which serves as an underdeveloped plot twist.) Throughout the movie, Beck and Woods skillfully prolong scenes, keeping us on edge as we anticipate the uncertain fate of these missionaries.
After enticing the girls into his private quarters, Mr. Reed sets up a challenge for them. The room features two apparent exits, one labeled “BELIEF” and the other “DISBELIEF.” Picking the right one would supposedly let them go freely, but is he trustworthy? After all, his house has been specifically designed for this purpose, with doors and windows that can be locked, as well as metal-reinforced ceilings and walls that interfere with cell phone signals.
As a film enthusiast, it’s clear to me that Mr. Reed has mastered the art of storytelling within this space. He appears to relish the role of creator, whether divine or teacher, as he passionately advocates what he terms “the one true faith.” Drawing on pop culture references, he likens different religions to musical iterations – much like how The Hollies’ “The Air That I Breathe” influenced Radiohead’s “Creep,” which undoubtedly left its mark on Lana Del Rey’s “Get Free.” However, the question remains: does this comparison truly hold water when we consider the distinct features that separate these faiths rather than their shared traits?
Seneca’s words, “Religion is believed as true by the masses, seen as false by the wise, and useful by rulers,” encapsulate much of what Mr. Reed discusses, though there seems to be a discrepancy between his intelligence and his approach to revealing how these systems can manipulate and control people. The filmmakers find themselves using sensational horror movie techniques and a complicated stunt that Mr. Reed refers to as his “miracle,” in an attempt to maintain our interest.
Fortunately, the two missionaries, Sister Paxton and Sister Barnes, are not as naive as they seem. Sister Paxton is courteous and eager to oblige, yet she eventually discerns Mr. Reed’s deception and stands up for herself when necessary. Reminiscent of a young Winona Ryder, Sister Barnes has a tough exterior and conceals her own mysteries. However, Grant’s character is the most enigmatic, as his past actions do not fully prepare us for what he does in this story. It’s undeniably frightening, but it doesn’t quite fit together logically. These two missionaries are not Mr. Reed’s initial victims, but the question remains: where does he find them? In a brief cameo, Topher Grace portrays Elder Kennedy, who would likely notice if missionaries assigned to Reed’s residence started disappearing.
Upon closer examination, fear, faith, and religion share some striking similarities. They both heavily depend on our beliefs, and accepting the unconventional character from “Four Weddings and a Funeral” as someone so twisted requires a significant leap of imagination. However, if you’re willing to go along with it, “Heretic” becomes an engaging watch. It might not alter your views on religion, but it will certainly make you look at blueberry pie in a whole new light.
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2024-09-16 04:17