Review: In ‘Heretic,’ an affable predator meets his match: Mormon missionaries

As a seasoned horror and thriller enthusiast who’s seen my fair share of creepy monsters and twisted minds, I must say that “Heretic” has left an indelible mark on me. This is not your typical alien-infested or supernatural horror; instead, it’s a chilling tale of the most common predator we all know too well – man. And when it comes to playing such a menacing yet charming character, there’s no one better than the ever-enchanting Hugh Grant.

In contrast to “A Quiet Place,” a screenplay that made writers Scott Beck and Bryan Woods famous by being a silent, high-concept monster movie where characters communicate minimally, their newest film, titled “Heretic,” is characterized by extensive dialogue. It’s a thought-provoking drama set within confined spaces, featuring philosophical discussions, debates, and verbal conflicts. Despite the abundance of words, the outcomes remain equally intense and nerve-wracking.

The threat labeled as “Heretic” isn’t alien or extraordinary; it’s actually the familiar and common terrestrial predator we know as humans.

In a fascinating twist, Beck and Woods have masterfully utilized the disarming British wit of none other than Hugh Grant in their chilling religious horror film. Known for his charming blunders and infectious smiles across romantic comedies such as “Notting Hill” and “Bridget Jones’s Diary,” Grant brings a similar energy to “Heretic.” However, the intrigue lies in the fact that his demeanor remains unchanged; it’s merely the context of the dialogue and his intentions towards women that have shifted.

The narrative commences by introducing two young Mormon missionaries, Sister Barnes (Sophie Thatcher), a sharp, streetwise woman dressed in black, and Sister Paxton (Chloe East), a cheerful, outgoing individual in a modest pink sweater. Upon a drizzly Colorado afternoon, they visit the household of Mr. Reed (Grant) due to his expressed curiosity about the Church of Jesus Christ of Latter-day Saints. Despite their diligence and caution, they encounter danger despite their best efforts.

As a film enthusiast, I step into this peculiar, confining abode, assured by Mr. Reed that his wife is busy baking a pie elsewhere. Yet, he skillfully lures me into his intricate maze with deceitful promises and eloquent banter. Initially, the girls are merely subjected to one man’s pompous discourses on religion, philosophy, culture, and even pop music – an ordeal that is already petrifying in its own right. However, given this is a horror flick, there are indeed more pressing, immediate perils hidden behind doors number one and two. Amusingly, Mr. Reed’s sinister schemes for these women mirror the unimaginative nature of his monologues – a deliberate twist that underscores the storyline.

As his questioning crosses taboos and boundaries, raising Sister Barnes’ hackles, cinematographer Chung-hoon Chung’s camera, which has been cutting between various degrees of close-up as the conversation progresses, breaks free from stasis. We float around the room like an invisible spider, circling and weaving this trio into a diabolical web.

What’s unsettling isn’t so much what Reed plans for them, but rather that these young women are already adept at appeasing and maneuvering around a Harmful Individual, knowing how to “nicely conclude this encounter.” He’s just another familiar toxic entity, merely more potent. Despite his conviction that his teachings are revolutionary or enlightening, his ideas are mundane, his strategies primitive, and even his intentions regarding them are all too foreseeable. For Beck and Woods, there’s no need to invent something extraordinary because such common garden-variety predators abound.

Additionally, while Mr. Reed may appear as a highly intelligent theologian, adorning his well-rehearsed arguments with props and dramatic effects, the content of his script does not seem to match his claimed status. Unlike him, Sisters Barnes and Paxton are never treated disrespectfully, and they always have insightful responses at their disposal. They show intelligence, wisdom, and cunningness. Primarily, they need to outsmart him, and they succeed in doing so, demonstrating their intellectual prowess.

Heretic” shines particularly through its captivating performances: Grant’s charisma, Thatcher’s cautious insightfulness, and East’s talent for hiding Sister Paxton’s unexpected strengths behind her modest demeanor (this character is a more complex portrayal of her zealous Jesus follower in “The Fabelmans”). It’s satisfying to see Mr. Reed challenged by these people-pleasing Mormons, whom he aimed to control and overpower – there’s a sense of fulfillment in that encounter.

Since “Heretic” falls into the genre category, it features excessive symbolic imagery, unlikely plot turns, and an unwelcome dependence on chance. The structure of the narrative, however, seems somewhat weak upon closer inspection, which is disappointing given the excellent interplay between dialogue, acting, and filmmaking techniques that harmoniously coalesce. Despite the script’s shortcomings, the tension is so palpable that it allows us to overlook these flaws, especially when the conclusion is so earnestly achieved.

In a nutshell, “Heretic” explores the contrast between belief and non-belief in the context of faith and morality. The story’s main message isn’t to label faith as either good or bad, but rather to recognize that each person has their own interpretation of it. What truly matters is trusting in one’s own convictions.

Katie Walsh is a Tribune News Service film critic.

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2024-11-07 22:32