Heretic (2024) Review: A Creepy Hugh Grant Elevates This Surprisingly Tarantino-esque Religious Horror

Heretic is far from your typical elevated religious horror. Well, at least for the first half of the movie as co-writer and director Scott Beck and Bryan Woods (65) begins with a long stretch of something unusually different for such a genre. It is as if the directing duo takes control of Quentin Tarantino’s mind, body and soul and gives us a talky movie filled with edgy dialogue and pop-culture references. It may feel like a vastly different movie than what we promised a religious horror, but that’s the unique selling point, which is indirectly tied to the relatable themes of religion, faith, curiosity, choice and control.

So, we have a movie that opens with two Mormon missionaries Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) sitting on the bench overlooking the view of a mountain as they debate about Magnum condoms and adult films. We learn that these two are in a town in Colorado for their missionary work, which eventually leads them to Mr Reed’s (Hugh Grant) home. He seems like a fine gentleman who is kind enough to invite them inside to discuss further. He even tells them his wife is preparing a blueberry pie in another room.

As the three sit on a couch in the living room, Mr Reed is more interested in debating about different topics from the concept of polygamy to fast food chains including name-dropping popular brands like Burger King, Jack in The Box and Carl’s Jr. For a while there, it may seem like a creative risk of turning the movie overly heavy with dialogue for its own good.

But kudos to Beck and Woods’ deliberate direction who managed to make everything work in their favour and not to forget, Hugh Grant’s seemingly nice and chatty character who grows increasingly disturbing as the movie progresses. This is especially true with the way he asks them uncomfortable questions and soon, the two find themselves trapped inside the house with the front door locked. I like how Beck and Woods build up the tension layer by layer. The kind that creeps up on you while making you wonder what if you are in these helpless missionaries’ shoes.

The Tarantino-esque influence continues with Mr Reed seemingly holding them hostage before beginning to lecture about the history of Monopoly and The Landlord’s Game, talking about “The Big Three” religions and even music. For the latter, you might never hear The Hollies’ 1970s hit ballad “The Air That I Breathe” the same way again. It’s not like Mr Reed isn’t allowing them to leave his house but not in a direct manner. Instead, he gives them two choices. Two doors, to be exact that will lead them to the exit. All they need to do is to choose one of them.

Heretic is all about proving a point, which in this case, is an idea that Mr Reed wants to sell to the two missionaries. No doubt that casting Hugh Grant in the horror genre is a bold, yet unconventional choice. But it was an ingenious move since the cast-against-type approach makes the movie more intriguing. Grant nails the subtly creepy role, proving his versatility beyond the actor’s usual comedy repertoire. The movie also benefits from Sophie Thatcher and Chloe East’s solid performances as the two missionaries suffer the worst day of their lives.

Then comes the second half, particularly once Sisters Barnes and Paxton enter through the door leading to a dark dungeon below. The conventional horror tropes take over from here, even though Beck and Woods manage to pull a few surprises and genuinely intriguing moments (the scene revolving around a gaunt-looking woman comes to mind). The directing duo doesn’t shy away from graphic violence but the subsequent third act somehow loses steam with an underwhelming, though bloody finale.

Frankly, I’m looking forward to rating Heretic much higher, especially after the terrific first half but even with the sometimes wobbly and succumbing-to-the-familiar genre territory in the other half, the movie remains an above-average religious horror from A24.