Heretic Review

"If God is real and watches us when we masturbate, and He has such a fragile ego that He only helps us when we beg Him and shower Him with praise, and He hates gay people for being what He made them to be, that's terrifying. If there's no God, and we're just horny, microscopic ants floating on a rock through space with no divine purpose and no hope to achieve eternal life - well, that's terrifying too."

Sounds heretic? Well, that's one from a dozen such monologues of the movie Heretic.

In the quietude of an unassuming suburban street, two young Mormon missionaries knock on a door they should have avoided. What awaits them inside isn't salvation but a chilling collision of faith, intellect and survival. Heretic, directed by Scott Beck and Bryan Woods, lures audiences into a game of theological cat-and-mouse, where Hugh Grant's disarmingly charming Mr Reed becomes the ultimate predator, unraveling faith one pointed monologue at a time.

The story unfolds with Sister Paxton (Sophie Thatcher) and Sister Barnes (Khloe East) embarking on what seems like a routine mission door-to-door evangelizing. They encounter Mr Reed, a genial man with glasses and a disarming smile, who invites them into his meticulously curated home. The warmth of blueberry pie-scented candles and the nostalgic hum of a Radiohead tune create a facade that quickly crumbles.

What begins as a polite exchange spirals into a labyrinthine interrogation of faith, morality and truth ...and then control and monopoly ensue. Reed, a self-proclaimed scholar of religion, tears apart their beliefs with analogies and philosophical riddles, likening faith to diluted board games and cover songs. His questions grow sinister, his methods violent. What starts as a verbal match escalates into a life-or-death struggle as the women confront the physical and psychological horrors lurking in the house's shadowy depths. And then the movie is about if the missionary duo can escape Reed's place.

Heretic thrives on its ability to entwine theological discourse with visceral horror. The film asks its audience to question: How much of belief is inherited and how much is choice? Reed's manipulation isn't merely physical but intellectual, exploiting the very foundations of faith. His arguments, though chilling, carry a logic that gnaws at both the characters and viewers alike.

The narrative's strength lies in its setting - claustrophobic and intimate. Conversations stretch like taut strings, each one vibrating with dread as the layers of deceit of the characters peel away. The script's commitment to long, dialogue-heavy scenes is both a strength and a challenge. It demands undivided attention, rewarding viewers with a haunting meditation on belief systems and control.

Hugh Grant delivers a career-defining performance, weaponizing his signature charm as a mask for something malevolent. With every smile and quip, Reed draws the audience closer, only to push them into the abyss of his twisted ideology. Sophie Thatcher and Khloe East are equally compelling, holding their ground against Grant's overpowering presence. Their fear and defiance feel palpable, each glance and hesitation echoing their internal conflict as their faith comes under siege.

The film's visual language heightens its tension. From the voyeuristic shots that peek over the shoulders of the missionaries to the spiraling camera sweeps that mimic the house's disorienting maze, the cinematography is as much a player as the characters themselves. The soundtrack - a metronomic ticking layered with haunting strings - creates an omnipresent sense of countdown, as if doom is perpetually one step closer.

The set design is equally meticulous. Reed's home is a sinister cathedral of contradictions: cozy yet claustrophobic, inviting yet riddled with secrets. Even small details - a dusty Bible, a creaking stair, or a strategically placed plank with nails - serve as ominous harbingers.

Heretic is not your typical horror movie. It's a slow-burning, dialogue-driven chamber piece that rewards patience with profound discomfort and philosophical unease. For fans of cerebral horror and theological debate, this is a must-watch. While its pace and complexity may alienate casual viewers, those willing to engage with its layered narrative will find themselves haunted long after the credits roll.

Prepare not just to watch, but to question, to reflect, and, perhaps, to fear.