Heretic offers a chilling departure for Hugh Grant, casting him in the unusual role of a villain in a horror film. Directed by Scott Beck and Bryan Woods, the screenwriters behind A Quiet Place, Heretic is a psychological thriller that combines religious tension, suspense, and dark humor in a confined setting, using Grant’s twisted charisma to full advantage. With standout performances from Grant, Chloe East, and Sophie Thatcher, the film thrives on its unsettling atmosphere and dialogue, even if it ultimately falls short of an impactful climax.
In Heretic, Grant plays Mr. Reed, an eccentric and dangerously unpredictable man who invites two young Mormon missionaries, Sister Paxton (East) and Sister Barnes (Thatcher), into his home. The sisters, just finishing a long day of rejections, are persuaded by Reed’s polite invitation and promise that his wife, ostensibly baking a pie in the kitchen, will be joining them. As they enter Reed’s quaint but ominous home, it soon becomes clear that there’s no wife and no pie—only a host with an agenda as sinister as it is manipulative.
The first half of Heretic is built on Reed’s verbal sparring with the missionaries, creating tension through intellectual and theological challenges. Grant’s performance is magnetic; his character’s unsettling warmth and whimsical curiosity give him a sadistic edge, allowing him to shift effortlessly from jovial to menacing. Reed’s methodical unpicking of the sisters’ beliefs is laced with humor, using Monopoly and the Radiohead song “Creep” to illustrate the supposed emptiness of organized faith. The discussions are a tug-of-war between Reed’s manipulative reasoning and the sisters’ increasingly shaky convictions. Grant’s Mr. Reed channels a familiar, almost disarmingly humorous energy, reminiscent of his rom-com persona, only with a much darker, deadly twist. His smile is charming, but it hides an unsettling menace, making his calculated kindness all the more chilling.
Sophie Thatcher and Chloe East ground the film with performances that reveal the vulnerabilities and hidden strengths of their characters. Sister Barnes, played by Thatcher, is the worldlier of the two, showing a streak of skepticism that makes her more resilient. East’s Sister Paxton, by contrast, is naïve and unassuming, but her determination grows as their situation becomes increasingly dire. East’s portrayal of Paxton’s transformation from trusting missionary to defiant believer adds a powerful layer to the character, making her both vulnerable and unexpectedly fierce.
Beck and Woods often rely on dialogue and setting to build tension, with the horror emerging less from violence and more from Mr. Reed’s psychological grip on his guests. The cinematography by Chung-hoon Chung, known for his work on Oldboy and The Handmaiden, captures the claustrophobic atmosphere of Reed’s home with dynamic shots and haunting lighting. Dark corridors and eerie hallways are shot with such precision that they amplify the unease, pulling the audience into the house’s claustrophobic confines.
However, the film’s second half struggles to maintain the intensity built up in its brilliant first hour. The revelations about Reed’s intentions and the film’s climax feel underwhelming, relying on more conventional horror tropes rather than the intellectual tension that made the first half so captivating. The filmmakers seem hesitant to take the narrative to its most terrifying possibilities, leaving some viewers wanting more when it comes to outright scares or shocking twists.
Overall, Heretic is a haunting exploration of belief and manipulation, anchored by strong performances and an atmospheric setting. While it loses some momentum in its final act, the film remains a compelling watch, particularly for those interested in a thriller that values psychological warfare over gore. Grant’s unnerving charm, paired with Thatcher and East’s nuanced portrayals, creates a thought-provoking experience that explores the blurred line between faith and doubt. Heretic might not fully deliver on its potential for terror, but its mix of humor, tension, and existential dread is both enjoyable and unsettling.
3.5/5
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