Heretic Review: Hugh Grant Weaponizes His Charm in a Middling Thriller

As a film enthusiast who has spent countless hours immersed in the labyrinthine world of cinema, I must say that Beck and Woods’ latest offering, Heretic, is a captivating exploration of faith, manipulation, and the studio system. The film’s dialogue-heavy structure, masterfully delivered by the enigmatic Hugh Grant, creates an atmosphere of palpable tension that leaves you on the edge of your seat.

Among the most captivating and thrilling film franchises of the last decade, originated from the 2018 movie “A Quiet Place”. John Krasinski, who both starred in and directed the project, garnered significant credit for its success, even though the original script was written by Scott Beck and Bryan Woods, which they later revised. Some felt that this overshadowed the contributions of Beck and Woods. In their subsequent directorial projects, “Haunt” (2019) and “65” (2023), it appeared as though Krasinski was crucial in bringing “A Quiet Place” to life, given those movies’ flaws. With “Heretic”, however, Beck and Woods delve deeper into personal, intimate territory with a suspenseful journey that explores the complexities of faith, touching on organized religion as much as the pressures of Hollywood.

In a turn of events, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), who are part of The Church of Jesus Christ of Latter-day Saints, visit Mr. Reed’s (Hugh Grant) home, expressing his curiosity about their faith. Initially, the dialogue is lighthearted, but as the conversation progresses, Mr. Reed delves deeper into challenging questions, testing the missionaries’ beliefs and those of their church. The Sisters, together with viewers, grapple with the dilemma: should they reveal uncertainties in their faith at the risk of being rejected by the church or remain firm in their convictions, which might lead to adversity.

In the world of romantic comedies, the film “Heretic” offers actor Brendan Gleeson a chance to embrace pure wickedness completely, creating a character almost as malevolent as his villain in “Paddington 2”. The movie mainly revolves around characters engaging in lengthy conversations, with Gleeson skillfully delivering intricate monologues that delve into the commonalities in mythology across a dozen religions, while also dissecting how Lana Del Rey’s “Get Free” borrows from Radiohead’s “Creep”, which itself is influenced by The Hollies’ “The Air That I Breathe”. It’s quite difficult to make such an imposing villain through verbal manipulation alone, but Mr. Reed’s charming madness is sure to captivate audiences. We can only hope that Gleeson’s performance in “Heretic” leads to more sinister roles being offered to him in the future.

Thatcher has a dedicated fanbase due to her roles in Yellowjackets and The Boogeyman last year, but East manages to outshine Thatcher in several scenes, even rivaling the charisma of Grant. While Thatcher portrays a tough character as we’ve seen before, Sister Paxton appears naive which leaves viewers puzzled, yet this is justified by her faith. This adds to the surprise when we see her quick thinking and resourcefulness, making it more satisfying for the viewer when she stands up against Mr. Reed, demonstrating her competence.

The first act of the film is some of the most engaging material in a horror film of the year, as something as simple as three characters talking is milked for every ounce of tension. Whether it be a flicker of lights, the lighting of a candle, an off-screen conversation, or a question that comes across as an interrogation, audiences will be screaming at the protagonists to escape, only for our shouts to go unheard (after all, we’re shouting at fictional characters in a movie). Had the final two acts been nearly as tense as those first 30 minutes, Heretic could be considered one of the most effective horror stories of the year. Sadly, nothing in the back half of the movie lives up to that introduction.

In the initial scene, it is evident that Mr. Reed was once seeking the “authentic faith,” a journey many embark upon. As the story progresses, Mr. Reed voices several reasonable criticisms about the conflicting nature of most religions and the misconceptions they foster, along with the numerous calamities and distress they’ve inflicted throughout history. Initially, some of these points may resonate with the staunchest believer; however, as we delve deeper into the film, Mr. Reed seems to embody a blend between Robert Langdon from Dan Brown’s “The Da Vinci Code” and someone you find yourself stuck talking to at a party who has just finished an “Introduction to Religion” course. The movie appears less like a tale about these characters and more like the filmmakers focusing primarily on attacking organized religion, flooding both the characters and viewers with “revelations” that are not particularly novel.

As a passionate cinephile, I must admit that the movie doesn’t solely aim to criticize organized religions, as it also portrays Sisters Barnes and Paxton overcoming obstacles through their faith. This leaves viewers pondering whether their faith empowers them or if they are misguided. For those well-versed in the New French Extremity movement, Heretic might bring to mind the chilling tale of Martyrs, not just in theme but also in its initial premise. However, unlike Martyrs, which left no room for doubt about its stance on religion, Heretic‘s message becomes somewhat ambiguous, making the entire viewing experience seem like a futile attempt at exploration.

In his religious beliefs, Mr. Reed finds significance in the notion of power and control, which church organizations often exploit for their own purposes, influencing all believers. The struggles of Beck and Woods with their film “65” and the significant changes made to their “A Quiet Place” script could be seen as a reflection of their own feelings about losing control over something they deeply care about. After the original story of “A Quiet Place” became a box-office hit, and their collaboration on “65” received only 36% positive reviews on Rotten Tomatoes, “Heretic” appears intensely personal in its exploration not just of faith, but also the pain of losing control over something that began with energy and enthusiasm. If “Heretic” showcases their true talent better, we hope it’s a sign of greater, more intimate fear from them rather than grandiose spectacles.

At the very least, “Heretic” manages to offer viewers something unique from directors Beck and Woods, as well as actor Grant – an achievement in itself. Given this novelty, it’s worth giving the movie a watch. Although the film’s exploration of organized religion and belief may not present entirely fresh insights for those who have personally wrestled with these concepts, it is commendable that it addresses these topics at all. The success of the movie’s complex and convoluted delivery of its ideas remains to be seen, but we prefer a thought-provoking genre film over a senseless slasher that focuses on shock value rather than depth or sophistication.

Rating: 3 out of 5

Heretic lands in theaters on November 8th.

2024-11-05 19:40

Read More