★★★★☆
Tying together the discomfort and uncertainty of its themes, Heretic starts skillfully but loses some direction in what was nearly an impeccable addition to the religious horror genre. Directors Scott Beck and Bryan Woods explore intriguing questions about religion and what it really means to believe.
The story follows two Mormon missionaries, Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher), who find themselves trapped in the twisted home of the conniving Mr. Reed (Hugh Grant). An A24 production, this film met the standards of originality and creativity the production company is known and loved for.
By using recurring elements, Heretic pushes the viewer to draw their own strings between the dynamic plot-points and characters, slowly shaking free the truth of reality. The differences between each character and the developments they experience individually elevate the message of the story.
Mr. Reed draws viewers in by leading the plot with discussions about belief and disbelief, and poses the ultimate question: What is the one true religion? The delivery of this mysterious and eerie character is set in stark contrast with the missionaries.
Particularly Sister Paxton’s character seems to start off in direct opposition to the antagonist, bringing the only light-hearted and charmingly awkward energy to the screen.
This positioning of the characters continues throughout the movie as the missionaries have to tap into everything they are that Mr. Reed is not, to find their way out of the psychological and literal trap he’s set for them.
The intensity of the film is communicated through the screen with intentional cinematography and careful establishment of setting. Although almost the entire film is set in a house, the detailed addition of chaotic weather like rain and snowstorms elevated the storytelling.
The slow and careful building of tension leads to a tasteful delivery of the plot’s conflicts and the final reveal of the antagonist’s motives.
One of the largest scenes of the film takes place further into Mr. Reed’s house, where he carries his comedic tone into a much more uncomfortable atmosphere.
His lack of seriousness and casual demeanor come across in a discussion of the popular board game Monopoly, “The Air That I Breathe” by The Hollies, and pop culture references to Lana Del Rey and Star Wars. The conversation creates uncertainty and eeriness, which the film is riddled with despite Mr. Reed’s nonchalant attitude.
Soon after, the missionaries are faced with a seemingly simple choice: belief or disbelief? Their choice is set up to determine their fate, but here the film takes a turn and somewhere along the line loses its skillful direction from the first half. By the end, the questions answered and doors opened deliver partly underwhelming conclusions.
The conclusions were not distasteful themselves, but in comparison to the fabulous first portion, the thrill was just not matched as the production came to a close.
The film nonetheless creates a unique experience with impressive performances, commendable production, and nuanced ideas about faith. Heretic honors the popular elements of the horror movie genre with well-placed jump-scares and unsettling gore, leaving viewers with that familiar feeling that follows them past the theater’s doors.
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