Heretic
Release Date: November 8, 2024
Directed By: Scott Beck and Bryan Woods
Written By: Scott Beck and Bryan Woods
Starring: Hugh Grant, Sophie Thatcher and Chloe East
Rating: R for some bloody violence
Runtime: 110 minutes
Throughout its 110-minute duration, the film continuously introduces fresh elements of intrigue and terror, all accomplished with just three main characters set against (albeit a complex) singular backdrop.
A project of this minimalist nature necessitates a sharp, insightful script and actors capable of fully immersing the audience in the narrative. Heretic excels in both regards. This clever, meta narrative is enriched with thoughtful, well-researched discourse on the extensive history of organized religion, while stars Hugh Grant, Sophie Thatcher, and Chloe East contribute unique dynamics that elevate the film’s intensity.
Heretic delivers a sharp, unsettling script that provides captivating insights into organized religion.
While the primary narrative unfolds, Topher Grace appears as a church elder who grows concerned about Barnes and Paxton’s absence and retraces their steps. Yet, Heretic primarily confines the audience alongside the protagonists in Mr. Reed’s home, skillfully building tension as their predicament escalates—drawing a natural correlation between the young women’s literal descent into the situation and the increasing sense of dread around them. The film’s effective empathetic portrayal of fear demonstrates that Barnes and Paxton are genuinely in danger, but its greater achievement lies in its thought-provoking discourse.
Mr. Reed’s villainy is obvious, yet he aligns with the cinematic archetype of intellectual antagonists who wield their knowledge to break their targets emotionally. His ability to articulate persuasive arguments, comparing missionary efforts to marketing and linking the common roots of major religions to melodic threads in songs like “The Air That I Breathe,” “Creep,” and “Get Free,” earns him sinister respect. As the audience becomes enthralled by his intellect, they find themselves both terrified and passionately curious about his ultimate goal and the “truth” he intends to unveil.
However, Heretic transcends mere horror; Barnes and Paxton embody agency rather than serving as passive victims. Although some may misconstrue it as an affront to the Mormon Church or organized religion, the film ignites a dialogue about personal faith and the role of religious institutions in society. The protagonists are not mindless believers relinquishing their faith to Mr. Reed’s rhetoric; instead, they actively contest his unfolding arguments and seek their own freedom.
Hugh Grant is a captivating creep in Heretic, with astounding performances from Sophie Thatcher and Chloe East.
The striking production design by Philip Messina transforms Mr. Reed’s house into an intimidating set piece, while Chung-hoon Chung’s exceptional cinematography envelops the audience in the tension alongside the lead characters. The film’s close focus highlights the necessity for compelling performances to convey its emotional stakes; thus, the casting of three actors suited for this challenge is paramount. The horror elements falter without the audience’s empathetic connection to Sister Barnes and Sister Paxton, yet both Thatcher (who is quickly gaining recognition in the genre) and East deliver performances filled with depth and resilience as their situation intensifies.
While excellent in their roles, it is Hugh Grant who shines as the lead in Heretic. Audiences have long cherished his signature British charm in romantic comedies, and this endearing persona serves him well as Mr. Reed entices the sisters. However, Grant subsequently pivots to an unsettling portrayal as the character’s true intentions become evident. He eschews overt aggression or a physical threat; instead, his menace arises from being a charismatic figure guiding the women into a psychological labyrinth, with his familiar smile becoming hauntingly disconcerting.
Heretic finds itself released at an unusual time, debuting slightly over a week post-Halloween, yet it serves as a valuable contribution to extending the spooky season. The film presents a thoughtful and astute perspective, an engaging and taut script, stellar performances, and a gripping conclusion that lingers in the viewer’s mind well after the credits roll, marking it as one of the year’s top horror offerings.
