Heretic

Directors: Scott Beck and Bryan Woods
Starring: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young
Running Time: 111 min.
Rating: R

★★★ (out of ★★★★) 

The first observation everyone will make about A24's chilling horror film Heretic is how it features Hugh Grant "playing against type" in a rare villainous role. But that's only partially true since the English actor inhabits this sadistic part exactly as we'd assume, playing it politely and eloquently, much like the characters he's built a career portraying in romantic comedies like Notting Hill and Love, Actually.

If anything's certain, it's that Grant's evil antagonist loves to hear himself talk, subjecting his visitors to an unsettling theological lecture about belief and spirituality. And in doing this he sets up an elaborate scenario that's constructed with more time, effort and motivation than most normal, functioning people are capable of. Of course, he's far from normal. The set-up is bold and ambitious enough to fear a letdown, but even when the film takes a more traditional horror path, it at least preserves the ideas that got it there.

Sister Barnes (Yellowjackets' Sophie Thatcher) and Sister Paxton (Chloe East) are two young Mormon missionaries from the Church of Jesus Christ and Latter Day Saints who arrive at the house of Mr. Reed (Grant), a middle-aged man possibly looking to join their congregation. He invites them in, alleviating initial concerns by announcing his wife will be joining shortly with her blueberry pie.

As the young women inquire about his interest in the church, Reed responds with increasingly awkward and uncomfortable queries of his own, mostly aimed at discrediting their faith. With a wife that's still nowhere to be seen and his behavior growing more suspicious and confrontational, Barnes and Paxton attempt to exit a potentially dangerous situation, not knowing they're already pawns in Mr. Reed's lethal, sadistic game.

The script cleverly establishes the women as having two very different and distinct personalities, making it imperative for viewers to pay attention to casual banter that later becomes important in the context of Reed's trap. Unwavering in her loyalty to her religion, Barnes appears to be the stronger, more confident of the two, while the shy and naive Paxton is also devoted to a fault, though noticeably iffier about certain aspects of the church.

Pamphlets in hand, Barnes and Paxton arrive in the pouring rain, greeted by a seemingly warm, welcoming host on their last scheduled stop of the night. But writer/directors Scott Beck and Bryan Woods (who helmed 2019's grisly slasher Haunt) fill the film with small, visually important details, even down to how they drag their bikes up the hill. While the last thing both expect are Reed's attempts at dismantling organized religion with his verbal attacks and theories, that's only the beginning.  

Since he's played by Grant, all of it's done with a class and charm that continues up to and after imprisoning them in a small, innocuous cottage home containing enough timed locks and hidden passageways to double as Fort Knox. Dimly shot with a foreboding sense of dread by cinematographer Chung Chung-hoon, you can see and feel the women's escalating unease amidst a growing doubt they've taken all necessary precautions. It's only when Reed's lies become too much to ignore that concern turns to fear, and then, pure panic. 

The movie is all about belief, or more accurately, what people believe and why, with this atheist Jigsaw insisting the choice to leave is theirs. But there's a catch, or more accurately, a test. It begins with a speech broadly outlining his big philosophical theory involving The Hollies' 1974 hit "The Air That I Breathe" and various iterations of Monopoly. This is where the film peaks, still shrouded in mystery as Reed holds court in his pew-like study.

The script veers into gruesomely familiar territory from then on, but still manages to deepen the psychology of the two women in the process. What comes next is entertainingly preposterous, but the acting sells it, as does a crammed, claustrophobic setting that ups the tension. Still, the story's strongest when we're left in the dark, speculating about Reed's intentions.

Temporarily freed from the usual constraints, Grant's clearly having the time of his life tackling darker material few would ever associate with him. More reliant on suspense than gore, the first half centers around a constantly evolving game of human chess, with his performance hinting at a number of feasible outcomes, including the possibility Reed could let them go.  

Thatcher and East (both of whom actually had a Mormon upbringing) subvert expectations following their characters' memorable introductions when Barnes and Paxton's arcs diverge. While the film's first two acts emphasize the former's steely determination and resourcefulness, a sudden turn cause us to completely reevaluate East's Paxton, whose timidity isn't the sign of weakness we'd assume. There's also a Topher Grace cameo that appears to be leading somewhere huge, but instead reveals itself as window dressing to underscore the true helplessness of this predicament. 

Up until an ending where the villain describes his master plan in agonizing detail, there's an authenticity to Heretic that's only enhanced by the performances and creepy atmosphere. What we see in the final minutes may not be the entire truth and remains open for interpretation, but that's only fitting given its themes. An inspired approach makes watching this unfold thrilling fun, especially with Grant giving his best opposite a pair of up-and-coming actresses more than capable of matching him.