In Heretic, Scott Beck and Bryan Woods craft a chilling religious horror film featuring a standout performance by Hugh Grant, who brings a sinister edge to his role as Mr. Reed. Known for his charming roles in films like Notting Hill and Bridget Jones’s Diary, Grant’s portrayal here is a far cry from his usual fare, showing off his ability to delve into darker, more complex characters. The film, which premiered at the Toronto International Film Festival and is set for a theatrical release on November 15, underscores Grant’s range and suggests why he might be well-suited for more villainous roles.
In this unsettling narrative, Grant plays Mr. Reed, a reclusive scholar with a disturbing agenda. His character invites two young Mormon missionaries, Sisters Paxton (Chloe East) and Barnes (Sophie Thatcher), into his home under the guise of a friendly and welcoming host. Set against a backdrop of ominous design choices—courtesy of cinematographer Chung-Hoon Chung and production designer Philip Messina—Reed’s house becomes a character in its own right, its unsettling details enhancing the film’s tension.
The Sisters are dispatched by their church to convert Reed, a man whose unconventional behavior and unsettling charm quickly put them on edge. Initially, Reed’s seemingly warm hospitality—complete with blueberry pie and intellectual curiosity about Mormonism—appears genuine. Yet, his peculiarities and invasive questions hint at a darker undercurrent. The film cleverly uses Reed’s home, with its eerie wallpaper and odd arrangement, to mirror the growing discomfort of the missionaries.
As the plot unfolds, Reed’s intentions become increasingly sinister. What initially seems like intellectual debate quickly devolves into a harrowing ordeal. Reed’s obsessive studies and twisted interpretations of faith are revealed through elaborate, almost theatrical monologues that blend religious fervor with disturbing fanaticism. Grant’s performance is both cerebral and unnervingly intense, delivering lines with the precision of a scholar and the fervor of a zealot. His unsettling charisma brings depth to the film, even as it begins to lose its narrative focus.
The film’s early moments are gripping, particularly the dynamic between Grant’s Reed and the two missionaries. East and Thatcher deliver strong performances, portraying their characters’ evolving fear and resolve with nuance. East’s portrayal of Sister Barnes, in particular, stands out for her perceptive and bold confrontation of Reed’s twisted logic. Meanwhile, Thatcher’s Sister Paxton balances vulnerability with growing resolve, making the duo compelling protagonists.
Despite its strong start, Heretic struggles to maintain its momentum. As Reed transitions from philosophical debates to more traditional horror tactics, the film begins to lose some of its initial intensity. Beck and Woods, while adept at creating a claustrophobic and unsettling atmosphere, falter in their deeper exploration of religious themes. The screenplay, which initially promises a critique of modern religious practices, eventually settles into more conventional horror tropes, which dilutes the film’s potential impact.
Moreover, a subplot involving a Mormon leader searching for the missing missionaries is underdeveloped and adds little to the overall narrative, failing to provide the depth or resolution it might have offered.
Ultimately, Heretic excels in its character interactions and Grant’s riveting performance, maintaining suspense and intrigue through its core three-person drama. Although the film’s broader critiques and thematic explorations may not fully deliver, the psychological tension and Grant’s formidable presence make it a noteworthy entry in the genre. Fans of religious horror and Grant’s work will find much to appreciate, even as the film occasionally veers into less compelling territory.
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