By John F. Gray
@JohnFosterGray
Writer and co-directors Scott Beck and Bryan Woods bring us Heretic, a tense and engaging thrill with a small budget but incredible narrative ambition. The film centers on two young Mormon missionaries, Sister Barnes and Sister Paxton (played by Sophie Thatcher and Chloe East).
The two young women have a genuine interest in their work and engage in spirited conversations while traveling to the home of a man, Mr. Reed, who had called the church to request a visit from the missionaries.
When they arrive at his house, Mr. Reed (Hugh Grant) invites them inside with a charming and non-threatening demeanor. The women enter but caution Mr. Reed that they are not to be left alone with a man and inquire about the whereabouts of his wife. Mr. Reed is understanding and attempts to put them at ease by telling them his wife is making blueberry pie in the kitchen.
Grant plays the role of Mr. Reed incredibly well. What’s amusing is that he is mostly known for roles in romantic comedies, where he plays charming and usually non-intimidating characters. Grant uses the same charm and unassuming nature for a more sinister purpose in Heretic.
He flashes a crooked grin, speaks in a jovial tone, and offers the women shelter from the storm outside. After only two minutes with Mr. Reed, the viewer can recognize that he has intentions for the women, and Sister Barnes begins to feel uneasy when Reed will not bring out his wife. The lack of clarity about Reed’s intentions subverts the expectations we all have of a typical “horror” film.
He could attack them, trap them, or simply debate religion with them the entire time. Instead, Reed wants to challenge the women—specifically their conviction, courage, and, most of all, their faith.
Thatcher plays Sister Barnes as somewhat of a cynical older sibling to the slightly naïve Sister Paxton. East’s Paxton is by no means foolish, but she clearly has faith in humanity and is more willing to stick around when Barnes instinctively knows something is amiss with Reed. For the first half of the film, the tone can be described as tense.
There are many moments where I believed Grant’s character would physically harm the women, but he simply continues his religious tirades. There is a significant amount of dialogue throughout the first portion, with a lot of layered meaning. However, I consider it necessary for the type of film Beck and Woods were trying to make. They aren’t attempting to persuade anyone to believe or not believe in a specific religion, but rather to spark conversation, using solid research to guide the characters to speak about these themes with accuracy.
The second half of the film takes an aggressive turn when the women are forced to make a choice posed by Reed, which he claims will lead them out of the house. The viewer begins to wonder if Reed will harm the women.
There is also a point in the second half where Topher Grace is introduced as an Elder at the church the women belong to. He arrives at Reed’s home and asks some simple questions, but the character is never fully utilized or fleshed out, making him a somewhat weak side character.
The pacing of Heretic is mostly even throughout, though the third act feels a bit scattered, with some moments of brutality sprinkled in to raise the stakes. Grant’s portrayal of Reed is truly the best part of the film—he is the reason I will remember Heretic years from now. In an age where movie studios seem to compete by inflating budgets, it was refreshing to see a well-made film that didn’t need hundreds of millions of dollars or a stacked cast of A-listers to be solid, entertaining, and somewhat informative—an engaging watch for anyone with an open mind.
