Checking out Letterboxd’s reviews of Heretic is wild — “no fucking way hugh grant just compared jesus to jar jar binks,” reads one; “Jigsaw if he was an insufferable reddit atheist,” says another; “date idea: you come over and I quiz you on board games, religion, and Radiohead,” goes another one. They’re all painfully true because the new film by Scott Beck and Ryan Woods has these awkward moments but also very brilliant ones. Claustrophobic, twisted, tense, and also brainy and philosophical, the new A24 horror flick brings important topics to the table. Let’s unpack them.
First of all, you have to give it to Hugh Grant for taking on the role of Mr. Reed, a creepy, inquisitive character that fits him like a glove. And also a round of applause for METAL 48 cover star, Sophie Thatcher, and Chloe East for portraying a not-so-innocent duo of Mormons, Sister Barnes and Sister Paxton respectively. The movie mainly relies on the three actors’ talent and powerful interpretations, which are heightened by the genius cinematographer Chung-hoon Chung (The Handmaiden, Oldboy, among others). His camera gives us unnerving close-ups of the three, allowing us to fully dive into their emotions — fear, disbelief, despair, satisfaction, doubt, concern. The tight filmmaking traps us with them in that dark, labyrinthine house that feels more like a mouse trap than a home.
The movie sets the tone from the get-go, when the two Mormon sisters discuss watching porn unabashedly once — which actually led one of them to believe that God is real. But the real thing starts when they make rounds from house to house to give more information on their creed — the Church of Jesus Christ of Latter-day Saints. Mr. Reed, a solitary old man, requested more info as, in theory, he’d like to know more about the Book of Mormon and its belief system. When Paxton and Barnes get to his house though, they don’t dare enter as their religion mandates that there’s a woman present. But Mr. Reed calmly insists, saying that his wife is in the kitchen baking a blueberry pie. Invited by both the old man’s kindness and a welcoming smell of homemade food, they agree to go in. A few minutes later, they start realising they’ve made a mistake.
Heretic poses several questions, those ‘big’ questions actually that humankind has been asking since the dawn of time: why are we here? What is our purpose in this world? Is there a purpose, actually? Does God exist? Does he have a master plan as we’ve been told? Why do we believe in God almost blindly? These are very interesting questions, ones that don’t have a fixed, real answer; instead, they help us think, reflect, grow spiritually. But Mr. Reed’s intention when posing them to the Sisters isn’t precisely that — it’s to test how far their belief system can go.
As you must’ve guessed, there is no wife baking a pie; instead, the blueberry aroma they smelled was actually a scented candle. That’s one of the first opportunities that Mr. Reed takes to question them about their faith, how their acts are controlled by things they believe even if they haven’t seen them or have proof of existing. But don’t we all like that? Regardless of religion belief (or non-belief), we live in society and act according to the norms that are in place.
Heretic starts very strongly; even if it’s brainy and has the audience making an effort to think, it’s interesting. However, it gets caught in itself and becomes a bit overwhelming, even boring — the rhetoric is just too much; it’s so dialogue-heavy that you need a break. But words must turn into action, and they really do. Dark and twisted, Mr. Reed plays a mental and physical game with the Sisters as they’re trapped and can’t find an escape. In that game (and previous dialogue), the directors and screenwriters bridge all types of pop culture, from Radiohead’s Creep to Lana del Rey, to Star Wars’ Jar Jar Binks, the origin of Monopoly, paganism, and more. It’s so random yet so entertaining, and it puts into perspective how everything is an iteration — every game, every religion, every song.
From a dialogue-heavy beginning to a more thrilling, action-based third act, Heretic gives us highs and lows, lights and shadows. But its screenplay and cinematography trap the audience just like Mr. Reed traps Sister Barnes and Sister Paxton.
