Few things are scarier than a conversation about religion. Whether the chat opens old wounds, surfaces fundamental issues in doctrine or instills crises of faith, having your beliefs put under a microscope is rarely and easy thing, especially when your life may depend on it.
Directing and writing duo Scott Beck and Bryan Woods deliver one of the year’s most tense thrillers with the religious-themed horror Heretic, thanks to a creepy against-type performance by Hugh Grant.
A chamber drama that could easily play out as a theatrical stage production, Heretic begins with an exciting premise for a modern-day horror story. Two young Mormon missionaries, Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East), visit Mr. Reed (Grant) in his suburban home as a violent storm rages outside. Dressed like a British Mr. Rogers, Reed has invited the young women into his cozy abode to speak to him about the Mormon Church and potentially convert him to their religion. But the dynamic soon changes as Reed turns the tables on the missionaries, asking them pointed questions about inconsistencies and controversial ideas in their religious texts, challenging their beliefs. With the storm bearing down, the trio have no options except to stay put and continue with the increasingly uncomfortable and troubling conversation.
In a performance that seems ripped out of Nicolas Cage’s playbook, Grant slowly escalates from a charming mild-mannered husband into a religious investigator hell-bent on educating the young women on the “one true religion”. He looks like he’s having a blast as the villain, slowly teasing the true intent of the holy terror Woods and Beck have in store. The script is filled to the brim with pop culture metaphors likening everything from Radiohead, Monopoly and Lana Del Rey to the idea that every religion is but an iteration of the same story.
At first, Sisters Barnes and Thatcher are indistinguishable in their views, echoing the word of the Church of Jesus Christ of Latter-Day Saints. They have faith in their church and believe in the word they are preaching. As the discussion with Reed volleys back and forth, it soon emerges that one of the Sisters is far more steadfast in her dedication to her beliefs than the other when Reed begins intensifying his religious lecture. It is here that Grant delivers well-practiced monologues as intriguing as they are insightful, a testament to Beck and Woods’ writing.
As the bones of Heretic begins to reveal itself through a series of choices leading down a path akin to Dante’s Inferno, Thatcher and East truly begin to shine. Both well-suited for their roles, holding their own against Grant and delivering solid performances against character arcs that never feel forced or contrived.
Although religion is the central driving force, do not be fooled into thinking this is a story that only aims to make fun or take down Mormonism at the expense of the young and inexperienced Sisters. Heretic treats all religions equally, opening up discussions about Catholicism, Judaism, Islam and more while simultaneously making a point that atheism and secular non-believers can be just as fanatical. Between the script and tight direction, the film is a major win for the duo coming off the abysmal 65 and delivering unique ideas that more closely resemble their breakout screenplay of A Quiet Place.
Just like religion, whether Heretic sticks the landing may be up for some debate. Regardless, audiences will be rewarded with a tightly-wound and well-paced horror story that will leave them thinking about their own faith, or lack thereof, long after the credits roll. A film that is almost entirely dialogue-driven and devoid of jump scares, Heretic may not be the horror film fans are expecting, but it’s definitely one we all deserve.
