Director: Scott Beck, Bryan Woods Screenwriter: Scott Beck, Bryan Woods Cast: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace Distributor: A24 Running Time: 111 min. MPAA: R

Heretic is as much a religious horror-thriller as it is a philosophical mind game. It challenges faith, sure, but it also questions trust and control. This isn’t a simple debate of the calculative atheist versus the deceived Mormons, nor is it a simplistic trap of a locked house of horrors. It’s as compelling to linger on every word as it is figuring out what lurks behind the next dark corner or creepy basement hatch.

Hugh Grant is at his best as the charmingly deceptive Mr. Reed. With thick glasses and a cozy sweater, he has the chipper demeanor of a professor so obsessed with making his work fun. He also seems like an easy baptism target for the young Mormon missionaries, Barnes (Sophie Thatcher) and Paxton (Chloe East). When visiting Reed, they are invited inside for pie and to discuss joining the ranks of the Church of Jesus Christ of Latter-day Saints. They soon discover, however, that Reed is very intrigued by religion in terms of beliefs, history, iterations, and relationship to society. He offers up a challenge with an almost scary level of ease, always presenting himself as though he’s holding a class instead of holding people hostage in his home.

Films about trapping serial killers always seem to have that moment where the ruse drops. With the tension that builds, there’s this anticipation for the smile to leave Reed’s face and the real torture to begin. But that grin and vigor for a religious, philosophical debate never leave. Even when doors are locked and blood is spilled, he is always challenging, speaking more about theory than intentions. This makes the battle between the old man and young girls more compelling because it’s a war where Reed welcomes a challenge. Barnes has a firmer grasp on her religion and belief, while Paxton is more cautious about the world’s ways. They’re not naive girls lured in by a secretive old man who quickly has their religion dismantled. They can fight back by challenging Reed’s beliefs if they’re assertive and critical enough, beyond just finding sharp objects to stab him with.

Reed’s house has some scary spots, as teased by his maze-like diagram of his house’s lower levels. There are leaky roofs, grimy basements, and chained-up individuals. These discoveries are shocking, but more so because Reed does little to cover them up. He practically wants the girls to probe further, curious to see if they can come closer to his claims of having discovered the one true religion. The trap isn’t so much following the track presented but listening to Reed’s many theories of speaking with God or questioning existence. You don’t want to trust him but he speaks with such assurance and conviction that there’s always a waffling of whether or not he’s leading you closer to the truth or your demise.

The dialogue is as intricate as the tactile nature of Reed’s plans, leaving plenty of room for uncertainty. Consider the addition of Topher Grace as a concerned Mormon who may or may not come to the rescue of his Sisters. Consider how Reed stalls the girls when offering them the two doors of belief and disbelief, speaking with a lingering interest in comparing iterations of religion to music and board games. Through it all, the film never loses sight of its greater philosophical questions about how we navigate this life and perceive the hereafter. Rarely does the film settle for a stab or chase to bring this entrapment to a close. Even more remarkable is how much room is left for comedy in how Grant’s smirking performance makes a meal out of rants where he compares the Book of Mormon to the Bob Ross version of Monopoly.

Heretic uses religion in its horror with a more astute wielding than fashioning Christ’s cross as a dagger. The words become just as vicious as the stabbings, where Grant’s many declarations always come with fearful vigor. The real terror of Mr. Reed is not whether or not he’s going to kill these young Mormons. The juicier horror is whether or not his words are convincing. And, goddamn, can Hugh Grant play a convincing cult leader!

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