Movie Review: ‘Heretic’ – A Blend of Intellectual Discourse, Gore, and a Subtly Sinister Hugh Grant
Heretic begins with an unexpected and intriguing conversation: two young missionaries from The Church of Jesus Christ of Latter-day Saints discuss the perplexing concept of condoms, particularly why some are labeled as “large” when most are, in fact, quite standard in size. “What else do we believe because of marketing?” one of them muses. This line sets the tone for the film, which uses a horror movie framework to explore deep philosophical discussions about religion, belief systems, and the nature of faith. Despite some uneven pacing and a noticeable dip in the film’s momentum in the second half, Heretic is a rare and fascinating concoction of gruesome violence, highbrow philosophical conversation, and subtle terror.
The plot follows two Mormon missionaries, played with intensity by Sophie Thatcher and Chloe East, as they embark on their quest to convert new souls. They come across a seemingly harmless cottage, the home of Mr. Reed, portrayed by Hugh Grant. His warm welcome includes offering them drinks and promising a delicious blueberry pie. He expresses interest in learning more about the church, which seems harmless enough—until it becomes clear that things are not as simple as they seem. From the moment Mr. Reed opens his door, a foreboding sense of unease begins to set in.
Though viewers may recognize Mr. Reed as the antagonist from the film’s promotional material, Grant’s portrayal of the character is anything but typical. He doesn’t embody the cold, calculating villain one might expect, like Hannibal Lecter. Instead, he plays Mr. Reed as a seemingly bumbling, self-effacing figure with a touch of menace. This performance draws on the same charm and humor that made Grant a beloved actor in Four Weddings and a Funeral but adds a layer of dark, unsettling energy. Mr. Reed is not simply an awkward host; he’s a man with deep knowledge about religion and the human condition, especially the Mormon faith.
“It’s good to be religious,” Mr. Reed cheerfully declares, signaling his complex and oddly sincere interest in the missionaries’ beliefs. The home he invites them into reflects this contradiction—quaint yet peculiar. There’s a framed needlepoint that reads “Bless This Mess” hanging on the wall, yet there are also strange details about the house, like timers controlling the lights and metal in the walls and ceilings. These oddities create a sense that all is not right within this seemingly harmless abode.
Mr. Reed quickly shifts the conversation into the realm of uncomfortable philosophical debate. He asks, “How do you feel about awkward questions?” before diving into a discussion on the church’s position on polygamy. The missionaries’ initial discomfort grows as Reed presses on, raising pointed questions about the church’s doctrines and how they compare to other religions. As one of the missionaries, Sister Paxton, admits, “Yeah, it’s sketch, for sure,” the philosophical knives are sharpened. The dialogue soon turns into a critique of religion as a product, with Mr. Reed expertly dissecting the marketing strategies behind various belief systems. As representatives of the Mormon faith, the two young women are, in his eyes, little more than walking advertisements for their religion.
This first half of Heretic is beautifully constructed, blending philosophical musings with subtle horror. The audience may find themselves so engrossed in the conversation that they don’t realize the film has slowly shifted from dialogue-heavy drama to full-blown horror. Mr. Reed alternates between being creepy and darkly humorous, showing off his knowledge of everything from Spider-Man to Voltaire, Radiohead to The Hollies, and even fast food chains like Wendy’s and Taco Bell. Grant’s portrayal of this character expertly weaponizes his charm, making him both endearing and terrifying at the same time.
The narrative takes a darker turn as Mr. Reed begins to reveal his twisted theories about religion. He acknowledges the terror that organized religions can instill in people and how, in his view, they function more as tools of control than as vehicles for salvation. With a charming smile, he declares, “It’s all terrifying. It is scary. I’m scared,” but his fears are not about the impending horror the missionaries may face in his home—he’s referring to the concept of religion itself. His philosophy is radical, and it’s clear that he’s not just interested in discussing ideas—he’s leading the missionaries into a terrifying confrontation with the very beliefs they’ve devoted their lives to.
As the film progresses, the audience begins to feel the tension rising. While Heretic excels in its first half, the latter part of the film begins to lose its balance. The slow buildup of philosophical discussion gives way to the horror that many viewers might have been anticipating. By the halfway mark, those who entered the theater expecting a deep dive into religion might begin to feel frustrated by the growing need for more visceral thrills. And Heretic delivers on that front, offering plenty of bloody violence and gore to satisfy the horror fans. Yet, the film struggles with its pacing, as it moves from intellectual dialogue to grotesque spectacle, creating a disjointed and somewhat muddled experience.
The plot, while ambitious, becomes increasingly unclear as the film reaches its climax. The ideas about religion, marketing, and faith that were so compelling in the early stages are overwhelmed by the chaotic turn the story takes. Despite this, Hugh Grant’s performance remains the film’s biggest draw. His portrayal of Mr. Reed is a masterclass in subtle menace, his charm making the character all the more chilling. Both Sophie Thatcher and Chloe East shine in their roles, giving strong performances as the missionaries who, despite their terror, find the courage to challenge Mr. Reed’s views, even if it means putting themselves in harm’s way.
To add a quirky touch, Heretic incorporates a bit of marketing manipulation of its own. In certain screenings, the smell of blueberry pie is pumped into the theater, a playful nod to the film’s unsettling blend of domestic warmth and horrific undercurrents. However, despite the clever gimmick, it’s best to keep your focus on Hugh Grant’s performance, as his portrayal of Mr. Reed is truly the heart of this disturbing film.
Heretic, an A24 release, opens in theaters on Friday. Rated R for “some bloody violence,” the film runs for 110 minutes and is a disturbing exploration of religion, philosophy, and the darkness lurking beneath seemingly innocent exteriors. Three stars out of four.
