MPAA Rating: R/Genre: Horror Thriller/Stars: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young/Runtime: 110 minutes
If there is one thing I found myself witnessing quite a bit during my time wandering, even if it was fairly aimless the first few years of it by my own admission, the halls of collegium academia (or college for short) than I perhaps would have liked to it was the act of my fellow classmates deciding to engage in the fiercest and most passionate debates about which of their individual systems of belief was the better one. Now the reason I say this is because there was something about these moments that caused a fair bit of internal concern on my part. That being the fact that these debates, for as informative as they turned out to be particularly in revealing more to me about who my classmates were as people, were by no means healthy nor were they even remotely productive. Not just because of how seemingly never ending they became once they got started in regards to the latter, but also because, with respect to the former, more than once did I see a fair bit of pushing and shoving that almost transitioned into “good old fashioned” fisticuffs. As a result, if these arguments managed to teach me anything that I could then proceed to carry over into the rest of my life after I got done in school it wasn’t just to be accepting of other people so I could avoid being punched in the face , but (and on a slightly more serious note) also that if a person wasn’t careful then such an argument could prove to be quite the ordeal to go through so always think twice before choosing to do so. Yet what if a pair of, at the very least, mildly devoted to their respective faith young people found themselves becoming engaged in such a debate with someone as the ones that I mentioned at the start of this section only to horrifically discover the conversation becoming something infinitely far more insidious and terrifying than they could ever have begun to imagine when they first walked into that person’s home? Indeed, and in case you hadn’t quite put two and five together yet dear reader, it is that very narrative hook that is at the heart of the latest A24 horror film, and slice of cinema I happen to be reviewing for you today, known as Heretic. A film that I might have been unsure of at first, but which I am ultimately glad I decided to watch (and not just because I’m a devoted fan of Hugh Grant playing villains left and right it seems like nowadays). This is because this might not be a film for everyone, but for those who are willing to embark on this particular cinematic voyage I can promise you that with the aid of incredibly solid work on both sides of the camera, Heretic is definitely one devilishly entertaining and intelligent film that is sure to stay with you long after the credits have begun to roll…
The plot is as follows: Taking audiences to the delightful locale of Colorado (which I hear is lovely this time of year incidentally), Heretic gets its spine-tingling story underway by introducing us to a pair of women by the name of Barnes and Paxton. A pair of women who, among other things worth knowing about them as people, spend their day to day lives engaged in doing “the good work” as missionaries for that distinct religious group known as the Church of Jesus Christ of Latter-day Saints (or the Mormon Church for those of you who prefer to keep things short and sweet). Yet whereas the latter of the duo is someone who is very much kind, lively, and a wee bit mile a minute in terms of how much she talks, we see that the former is quieter and more low-key to say nothing of a bit more uncertain as to if the faith that both girls are a part of is what’s right for her and her life. Even with her mild crisis of faith in mind however, there is no denying that Barnes, having been a part of the church longer, is definitely a good role model for the more novice Paxton to aspire to since she has actually managed to be fairly successful in converting a number of people to their religion of choice. Perhaps this is why, when our story begins, we see that Barnes is going with Paxton to try and help get her first successful conversion at the home of a Mr. Reed who had seemingly showcased further interest in learning more about the church. Upon their arrival, the pair, and us as movie goers along with them, discover that Reed is a wee bit eccentric and reclusive yet seemingly friendly and affable enough Englishman who, despite the Mormon church possessing a doctrine which states that the pair are not to enter the residence of a man that is a stranger to them should another woman not be in the immediate vicinity, is able to persuade them to enter with the promise that his wife is simply in the other room making a very delicious blueberry pie. Yet as the discussion between the trio goes on, it isn’t long before things start to get more than a tad bit uncomfortable for our heroines as not only does Reed starts to showcase that he possesses more knowledge about the girls’ faith, and just religion in general than he let on, but hints also start to emerge that he might have had an ulterior, and dare I say sinister, motive in mind for inviting them into his home. As for what Reed’s ultimate endgame is to say nothing of the way that this genuinely nightmarish situation manages to unfold for both him as well as our dynamic protagonist duo however that is something which I think I shall let you discover for yourself…..
Now right off, I think it can definitely be said that the various efforts contributed to the film by the assorted departments operating behind the camera all manage to be quite solid in terms of what each and every one of them are able to bring to this rather distinct cinematic table so to speak. Without a doubt in my mind, this starts with the work done in the director’s chairs by Scott Beck and Bryan Woods (the writing duo behind the first installment in the Quiet Place franchise from 2018 respectively) and this is definitely terrific work from both of them. Indeed not only do Beck and Woods succeed in making this particular cinematic outing a nightmarish one that is rooted more so in shocks of a psychological and, dare I say, intellectual variety than one that is drenched in blood and gore right from the start to say nothing of providing the (albeit small) cast of characters with more than just one shade or dimension to them thus making it easier for the characters to become more relatable and compelling to us as an audience, but they also do a fantastic job of making this a highly effective cinematic exercise in slow-burn tension and suspense rather than jump scares every 5 minutes. As a result, yes this film is undeniably chilling as it goes along, but it also does a wonderful job of keeping you equally on the edge of your seat and invested. Not just in the story being told, but in the cast of characters who are meant to be our guides through that story as well. Alongside their impressive work at the helm, we see that Beck and Woods also deliver a solid effort through their work as the scribes of this film’s screenplay as well. Indeed, and much like with their work at the helm, not only is the script for this genuinely terrifying, but it also does a fantastic job of balancing those scares out with a perspective on belief and religion that is surprisingly insightful and thought-provoking respectively thus distinguishing this film from a lot of others in the horror genre of movie magic. Besides the undeniably skilled efforts of Beck and Woods both at the helm and on the page, this slice of cinema also contains some truly effective work from Chung Chung-hoon (Zombieland: Double Tap, Last Night in Soho, and 2023’s Wonka) in the cinematography department. Indeed there is no denying that Chung-hoon’s work here is able to succeed in conjuring up for us as audiences an equal parts claustrophobia and tension-filled atmosphere to such an effective extent that it really does almost feel like we too, along with our two lead characters, are trapped in this increasingly malevolent location with no exit anywhere to be found. Last, but by no means least this section would not be complete if I didn’t devote some of it to talk about the work done by 4-time Emmy nominee Chris Bacon (2011’s Source Code and the hit TV show Bates Motel to name but a few) on this slice of cinema’s musical accompaniment. Indeed not only does Bacon (no relation to one Kevin Bacon incidentally)’s score here succeed incredibly well at reinforcing the ominous and riveting mood established by the rest of the film, but it also manages to merge itself incredibly well with the spine-tingling terror and intelligent thematic concepts that the film is functioning with also. Suffice it to say that when you also incorporate on-point work from the editing and production design departments among others it’s clear that the teams working behind the camera definitely put their best foot forward here and their efforts here are definitely a terrific indicator of that.
In addition to the truly electrifying work engaged in behind the camera, it also doesn’t hurt this slice of cinema in even the slightest that the work done in front of the camera by the small yet undeniably talented collection of players here manages to be on the same level of phenomenal quality. Without a doubt in my mind whatsoever, this starts with the work done by the iconic (to say nothing of delightfully grumpy) Hugh Grant and this is another fantastic addition to his recent catalogue of villainous roles that he has been taking on since at least Cloud Atlas back in 2012. Indeed as Mr. Reed, we see that Grant does a fantastic job of bringing a devilish charm to say nothing of mischievous smile and genuinely funny sense of humor to a character that seems like a friendly and inviting individual only to then slowly but surely begin peeling that way to reveal someone who is very much the epitome of manipulative, sinister, and downright insidious in a manner that might be understated yet is nevertheless undeniably effective as well. Yet perhaps the most astonishing thing about Grant’s performance here isn’t so much anything that Reed does, but rather the fact that there are moments in this where he actually makes points that are so well thought-out and insightful that you might be pleasantly surprised to find that you understand where he is coming from with them. Suffice it to say that I feel I can confidently say that this was the character that, depending on the casting for him, would either make or break the movie and, when looking at it from that perspective, I am so glad that they were able to get Hugh Grant to play him because he is absolutely chilling and then some in the best way possible. Alongside the nightmarishly great work done by Grant, this slice of cinema also provides us as movie goers with an equally as effective turn from Sophie Thatcher (2023’s The Boogeyman and teenage Natalie on the TV show Yellowjackets) as Sister Barnes. Indeed as Barnes, we see that Thatcher does a remarkable job of giving us a character that, minor crisis of faith aside, is very much someone who might be a bit more guarded and weary than her more idealistic younger counterpart, but when push comes to shove has no problem going toe to toe with Reed in calling out the flaws in his various arguments while also standing up for her faith and doing everything she can to keep herself and Paxton safe. Last, but most assuredly not least by any stretch of the imagination at all, I feel like this section would definitely be lacking if I didn’t talk about the performance given here by Chloe East (2022’s The Fabelmans, 2020’s The Wolf of Snow Hollow) as Sister Paxton. Indeed East does a spectacular job here of presenting us with a character that, unlike Barnes, is a bit more dare I say unwavering in her faith and trusting of others than perhaps she should be, but who as the film goes on really does grow and evolve into a strong and courageous individual who is willing to defend her beliefs against Reed and his more than slightly manipulative tactics. Suffice it to say that when you also take into account well-done work from such talents as Elle Young and none other than Topher “Eric Foreman” Grace (yes I know he has done some wonderful work since his days on That 70s Show, but I just can’t help it since that was my introduction to him as an actor) it’s clear that the cast list might not be as lengthy as other slices of cinema, but the work done by the performers in front of the camera most assuredly manages to be undeniably engaging and chilling all the same.
All in all and at the end of the day is Heretic a perfectly chilling slice of cinema in basically every way under the sun much in the same vein as The Exorcist or even the original Halloween (have to make that clear) from 1978? Sadly, and as awesome as it would be to have a new addition to that distinct cinematic pantheon, I am afraid that I cannot say that with this particular film. With that in mind, is this the worst slice of cinema made by any of the talents involved on either side of the camera to say nothing of one that I would just do everything in my power to desperately try and avoid at any and all cost? As hilariously over the top as that aforementioned reaction is, I can thankfully confirm for you that is also not the case with this particular film. To be sure, I can definitely say that this slice of cinema is one that will most likely not appeal to every single one of you out there. Not just because of the subject matter at the heart of it, the ambiguous-nature of the conclusion which I have no desire to go into any further detail on, the slow-burn style of the story being told, or the fact that this is a horror film that’s collection of scares is rooted more so in both cerebral horror and the time-honored art form of getting under your skin rather than desperately trying to spill as much in the way of blood and guts as it possibly can, but also quite possibly because of some twisted cocktail of all those aforementioned ingredients together. With that in mind however, should you be someone who can accept that this slice of cinema will be one that focuses on scaring you more so by sinking its distinct hooks into your mind and then staying with you for a long time afterward to say nothing of taking its time to get where it is intended to go then I think you will have a fair bit more to enjoy here. Indeed the work done at the helm is spot-on, the script is both thought-provoking and terrifying in equal measure, the cinematography is hauntingly well-done, the score is definitely on point for this kind of film, and the performances (especially the ones provided here by Grant, Thatcher, and East) are all excellent in every sense of the word. Thus it might not be for everyone, but for those willing to give it a shot I promise you that Heretic is one film that will definitely intrigue, disturb, unnerve, and ultimately scare you in equal measure even as it also makes you think twice about ever doing anything that might involve you ringing a stranger’s doorbell to ask them anything. Make of that what thou will dear reader! On a scale of 1-5 I give Heretic “2024” a solid 4 out of 5.
