‘Heretic’ (review)

Belief.

It is one of the cornerstones of religion.

I am not religious.

I was raised Fundamentalist Baptist and my family was kicked out of the church.

One thing I remember from my time served that was leading to my inevitable “baptism” before I was thankfully freed from the bonds of the bible throwing mass was “One does not question. One accepts, and One Believes. There is no other option”.

You either believe or you don’t. Once you begin to question belief, it wholesale unravels like an old and feeble granny’s poorly knitted sweater when the tread is slightly tugged upon.

Thus, we happen upon the disquieting and often nerve wracking new film, Heretic.

Heretic is brought to you from writers/directors Scott Brick and Bryan Woods, the minds that gave us the first A Quiet Place film. The duo have now turned their sights on the nature of belief and “The One True Religion” and what could it possibly be?

Set in Colorado’s mountainous and remote landscape, Heretic follows two young and enthusiastic Missionaries, Sister Barnes and Sister Paxton.

As they negotiate the world around them, they are completing the day’s leads of possible victims… I mean “investigators” interested in learning more about the Church of Latter Day Saints, a foreboding storm begins to settle in for the evening.

They knock on the door of one curious investigator, a Mr. Reed.

Reed is deliciously embodied by the bespeckled and seemingly hapless figure of Hugh Grant. The two Morman sisters tell Reed they can not enter lest there is a female present. He assures them his wife will be joining them soon; once she finishes baking a pie for them all. The two girls hesitate but reluctantly enter once, with that signature Grant charm, he assuages their fears.

What begins as the storm builds ever more turbulent outside and the conversation becomes more awkward and uncomfortable is quite possibly one of the best theological horror films I have ever watched.

The film immediately becomes a claustrophobic, three person play in the spirit of films like Sidney Lumet’s 1982 Deathtrap starring Michael Caine and Christopher Reeve, Radha Bharadwja’s 1991 Closet Land starring Madeleine Stowe and Alan Rickman and Roman Polanski’s 1994 Death and the Maiden with Sigourney Weaver, Ben Kingsley, and Stuart Wilson. All incredible psychological thrillers.

As the film draws on and us in, the conversation turns from the missionaries doing their ever loving best to help sell their religion to this curious older man to the girls being questioned about what they believe and disbelieve. The slightly courteous, but disconcerting rapport between the three becomes dismaying as the girls realize that things are not what they seem.

The film flips as does the script. The full realization may be too late as the two acolytes are tested beyond any crucible they could ever imagine.

Grant has turned in a sensational character performance here. I hate to use the term “tour de force”, but I think I might have to here. Deceptively metamorphosing his signature 90’s foppish, stuttering, unlikely romantic hero characterizations into one of the most uncomfortable and seemingly dangerous predators in recent cinema history. His performance is worth the price of admission alone.

I would be remiss to not mention the stellar performances by Sophie Thatcher as the innocent and eager, if not slightly anxious Sister Barnes as well as Chloe East’s Sister enthusiastic Paxton, who seems she might have a skeleton or two in her armoire. Both actors are outstanding as their characters negotiate the theological minefield they have unbeknownst wandered into at the behest of Grant’s Mr. Reed.

Heretic also leans heavily on the visuals, thanks to the deft talents of Korean cinematographer Chung-hoon Chung whose work on films such as Park Chan-wook’s films Oldboy and Lady Vengeance as well Edgar Wright’s Last Night in Soho speak for themselves. Chung turns single, quaint sitting rooms and halls into a nightmare of unease.

Smooth camerawork, dynamic lighting, and near perfect composition paired with the sterling script not only convert the viewer into the accused but makes the actors and the story a symposium where we are the lectured. The film also artfully delves into other horror film’s thematics such as Saw and Hereditary. Heretic even adroitly dips its toes into the slasher film waters as well.

Overall Heretic is all I had hoped it would be and not even the bizarre yelling fight and nigh fisticuffs that broke out in the theater at a particularly pinnacle moment in the film (Always keeping it classy, Boston) nor the fact that the theater (Always a pleasure AMC Boston Common) showed the film with borders outside the screen parameters ostensibly cutting off the edges of the inside of the frames for the entirety of the movie could ruin this film for me.

I think this is one of my favorite films so far this year. I can’t recommend it enough and I hope it receives the accolades and audience appreciation I think it deserves.

*  *  *  *  *
Produced by Stacey Sher, Scott Beck,
Bryan Woods, Julia Glausi, Jeanette Volturno
Written and Directed by Scott Beck and Bryan Woods
Starring Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace