In “Heretic,” a sharply crafted religious horror film by Scott Beck and Bryan Woods, the most riveting scenes feature Mr. Reed, a cerebral theologian portrayed with unsettling charm by Hugh Grant. Grant, known for his roles in “Notting Hill” and “Bridget Jones’s Diary,” plays Mr. Reed as a sinister recluse whose well-intentioned demeanor quickly reveals itself as a dangerous trap. Premiering at the Toronto International Film Festival before its theatrical release on November 15, the film showcases Grant’s convincing portrayal of a villain, leaving audiences wondering why he hasn’t taken on more such roles.
In the film, Sisters Paxton (Chloe East) and Barnes (Sophie Thatcher), young Mormon missionaries, are dispatched to convert Mr. Reed. They encounter his home, an architectural curiosity perched atop a grassy hill, with an initial sense of ease due to his warm reception. Mr. Reed’s hospitality, including blueberry pie and a seemingly genuine interest in their faith, contrasts sharply with the hostile reception typically faced by missionaries, as illustrated by an earlier scene of public humiliation for Sister Paxton.
Despite the apparent friendliness of Mr. Reed, there are unsettling hints—his obsessive gaze, probing questions, and strange behavior suggest underlying malevolence. However, the Sisters choose to overlook these red flags, a decision that soon proves disastrous.
Beck and Woods, renowned for “A Quiet Place,” skillfully build tension through the film’s setting and cinematography. Collaborating with Chung-Hoon Chung, known for his work with Park Chan-wook, and production designer Philip Messina, the directors use the eerie, meticulously arranged interior of Mr. Reed’s home to create a foreboding atmosphere.
As the Sisters engage with Mr. Reed, his initially enthusiastic demeanor becomes increasingly invasive, leading to a suspenseful realization of their peril. The film reaches a memorable moment when Mr. Reed, a self-taught scholar of faith, presents his disturbing conclusions using a bizarre mix of Monopoly, pop culture references, and religious texts. Grant delivers his monologues with a blend of professorial calm and fanatic intensity, underscored by Chung’s dramatic overhead shots of Mr. Reed’s meticulously organized desk.
“Heretic” excels in its early stages, particularly in the interactions between Grant, East, and Thatcher. Grant’s portrayal of Mr. Reed as a wily antagonist is complemented by East and Thatcher’s compelling performances as the resourceful and resilient missionaries. Their dynamic provides a strong foundation for the film’s tension, making their intellectual and psychological confrontations with Mr. Reed engaging.
However, the film’s critique of modern religion, while intriguing, falters as it shifts towards conventional horror tropes. The screenplay struggles to maintain its sharp commentary as Mr. Reed transitions from intellectual to traditional horror villain. This shift reduces the narrative’s impact, leaving the film’s critical potential somewhat unfulfilled. Additionally, a subplot involving a Mormon leader searching for the missing Sisters adds little beyond a brief, ineffective joke.
Despite these shortcomings, the film’s central three-way confrontation remains its most compelling aspect. Even as “Heretic” occasionally veers into less satisfying territory, the cat-and-mouse game between Paxton, Barnes, and Mr. Reed keeps the audience engaged, anchored by strong performances and a gripping psychological dynamic.
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