If “A Quiet Place” – the screenplay that put writers Scott Beck and Bryan Woods on the map – was a tight-lipped, high-concept monster movie in which the characters rarely spoke, then “Heretic” was their latest film, which wrote and directed is the opposite. This is a controversial parliamentary piece full of philosophical confrontations, debate duels and long-winded warfare, although the outcomes remain just as moving.
But the danger of “heretic” is not something extraterrestrial – an alien from another planet – but rather the most common and mundane of earthly predators: a human.
And what kind of man have Beck and Woods cast in their religious horror film, effectively weaponizing the confusing British charm of one Mr. Hugh Grant, who has rumbled and grinned through rom-com classics like “Notting Hill,” “Bridget Jones’s Diary” ? and much, much more. The genius of his performance in ‘Heretic’ is that his manner in this horror film is no different than in those romantic comedies. It’s just the nature of the conversation – and what he would like to do with women – that is different.
The story begins with two young Mormon women on a mission to baptize converts. Sister Barnes (Sophie Thatcher), smart, smart and dressed in black, visually contrasts the bubbly, outgoing Sister Paxton (Chloe East) in her demure pink cardigan. The pair arrive on a rainy afternoon at the remote Colorado doorstep of a Mr. Reed (Grant) because he has expressed an interest in the Church of Jesus Christ of Latter-day Saints, and despite doing everything right and keeping their wits about them keep them, they will ultimately continue to be in danger.
Two young Mormon women are on a mission to baptize converts in ‘Heretic’. (A24/TNS)
They only enter this strange and claustrophobic house when Mr. Reed promises that his wife is baking a cake in the other room, but he draws them into his labyrinth using false promises and rhetorical exercises. Initially, the girls are only in danger of being forced to listen to one man’s extremely pretentious views on religion, philosophy, culture, and yes, pop music, which is terrifying in itself. For some women, everything that comes after such torture would pale in comparison. But of course, this being a horror movie, there are more immediate existential threats lurking behind doors one and two. The funny thing is that the designs Mr. Reed has in mind for these ladies are just as derivative and unoriginal as his monologues, and that’s the point.
As his questions cross taboos and boundaries and raise Nurse Barnes’ hackles, cinematographer Chung-hoon Chung’s camera, cutting between levels of close-up as the conversation progresses, breaks free from stasis. The camera floats around the room like an invisible spider, circling and circling, weaving this trio into a devilish web.
What’s scary isn’t what Reed has in store for them, but how these young women already know how to appease and navigate a Bad Man, how to “finish this politely.” He’s nothing new, just more harmful. Despite his belief that what he imparts is radical or even enlightening, his claims are banal, his methods rudimentary, and even the revelations about his intentions all too predictable. Beck and Woods don’t need to come up with something extraterrestrial when these types of backyard predators are all too insidious.
Moreover, although Mr. Reed presents himself as an intellectually superior theologian, gilding his carefully choreographed arguments with props and theatrical touches, the script itself does not hold him in the same regard. It never comes down to the Barnes and Paxton sisters, and the girls always have good rebuttals ready; they are also observant, smart and clever. First and foremost, they’ll have to outsmart him, and they’re proving they can do that.
‘Heretic’ excels in the strength of its performances: Grant’s charm offensive, Thatcher’s wary knowledge and East’s ability to unite Sister Paxton’s surprising powers with her girlish mannerisms (this character is a more complicated version of her fervent Jesus freak in ‘The Fabelmans’). That Mr. Reed met his match in these people-pleasing Mormon girls, victims he tried to manipulate, coerce and dominate – well, there’s a satisfaction in that.
But because it’s also a genre film, there are overwrought visual metaphors, unlikely twists and an unfortunate reliance on coincidence. The mechanics of the plot itself don’t really hold up under scrutiny, which is a shame when the dialogue, performances and filmmaking are so closely intertwined and move in perfect sync. The tension and characters allow us to see the flaws and weaknesses in the script, especially when the resolution is so hard-won.
‘Heretic’, a lecture on faith and ethics gone wrong, is a story of faith versus disbelief. If we take anything away from this story, it is not that faith is bad or good, but that it exists in the eye of the beholder. The only thing worth believing in is yourself.
‘Heretic’
- 3 stars (out of 4)
- MPA rating: R (for some bloody violence)
- Duration: 1:50
- How to watch: In cinemas from November 8
Originally published: November 7, 2024 at 3:49 PM CST