Being clever is never enough. There are plenty of smart films out there that intelligently dissect some issue or ironically juxtapose points of view in some ingenious manner, but the truth is a lot of them are boring or far too self-important or so proud of their own skill that it feels awkwardly indecent to watch them masturbatorily flail about on screen. “Heretic” is a very clever movie—but it’s also one that is incredibly entertaining and oddly touching thanks to deft writing, skilled direction, and exceptional performances. Religion is a tricky subject to approach—it’s at once something that is deeply personal and yet (due to the world being what it is) ultimately affects all of us in different ways—but writers/directors Scott Beck and Bryan Woods figure out how to discuss (and yes criticize) it creatively while dressing it up in a horror film’s clothes. It makes for a stellar experience that constantly surprises and gratifies while maintaining its cleverness throughout.
Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) are Mormon missionaries trying to spread the word of their religion in a new city. As they wrap up for the day, they have one more name on their list to visit with — Mr. Reed (Hugh Grant). Of course, they are unable to enter the house with only just a man, but Mr. Reed assures them that his wife is in the other room. A bad storm is beginning, and the girls are eager to go inside, so they do and start discussing their beliefs with Reed. It soon becomes clear that Mr. Reed is not some dilettante hearing about the Church of Latter-Day Saints for the first time, and in fact is quite well-versed in all things religious. It also becomes clear that there is no wife, and that Reed has invited them in to begin an elaborate and sadistic game to test the ladies’ faith. This isn’t just a lively debate, but instead becomes a potentially fatal collision of ideas.
Despite all the grim elements and dark turns, one word kept springing to mind while watching “Heretic”: delightful. It’s truly lovely watching Grant use his charming persona, crafted over many decades, and weaponize it into playful menace with his prey. It’s vastly satisfying watching Thatcher and East not be two-dimensional religious mouthpieces or damsels in distress, but instead complex characters that are constantly revealing new layers as the film progresses. Beck & Woods manage to synthesize the torture trap horror movie sub-genre with the philosophical dialectic tradition to create something unique and enjoyable. And every time you presume you know where the story is headed, “Heretic” chooses not to go for that easy path but surprises with another option you didn’t even know was possible.
While a bunch happens in “Heretic,” it’s really driven by the dialogue and chemistry between the three leads. Their personas are so well crafted and interesting, magnetic and sympathetic even in bad situations, that it’s utterly compelling just watching them debate their viewpoints and fence with each other. Obviously, Reed is a monster, but bolstered by Grant’s charisma and snappy banter, you enjoy his presence and even agree with (possibly more than) a few of his statements. Hey, Satan also had the best lines in “Paradise Lost,” so there’s tradition for this. But Thatcher and East are equally compelling in their performances—they are both outmatched by Reed but also have surprising wells from which they draw in their battle with him.
In less capable hands, granting equal power and weight to the opposing positions in “Heretic” would feel like placating or going the easy way out. But Beck & Woods put in the effort to make sure that both the theist side and atheistic approach are given strong arguments and resounding moments of triumph. It’s not inconceivable that two different people, one of faith and the other not, would come out of this feeling their “side” was vindicated—though obviously, one of those positions is doing heinous acts to prove their point, but again…so charming!
If there is a downside to “Heretic” it’s that the visual language isn’t as strong as every other element of the film. It’s intentionally dark and uses muted colors, both to ground it in reality and to reflect the murky situation/dialectic, but there’s a lack of really interesting camera movement or shot composition. Perhaps this was a conscious choice to focus more on the words of the script and the performances of the actor, almost being like a play in some respects, and not have cinematography distract from those parts of the movie. But when everything else is firing—acting, script, sound design, f/x, wardrobe, etc.—it’s noticeable that the imagery, while giving off dank church vibes, simply isn’t as engaging or inventive as the rest.
“Heretic” is a terrific film that is worth seeking out. It will lead to multiple conversations and debates for viewers around religion and philosophy and faith and much more. What could have easily been a religious “Saw” knock off (that actually exists, by the way) is instead a tremendously realized film powered by excellent dialogue and exquisite performances. Its willingness to zig at every zag opportunity feels rewarding for going along the ghastly journey. Scott Beck and Bryan Woods (“A Quiet Place,” “Haunt”) have proven to be a powerhouse duo working in the genre that find ways of deftly exploring humanity through utterly inhumane situations. “Heretic” proves they are clever filmmakers who don’t just rely on their wit, but instead deliver a fantastic movie that will haunt as much as it delights.
4 / 5 Stars
Starring: Hugh Grant, Sophie Thatcher, Chloe East
Directed by: Scott Beck & Bryan Woods
