"Heretic"

  ☆☆☆½ 

There's so much right about Heretic, the new horror movie that doesn't cast Hugh Grant against type as much as it casts him against all good judgment — yet it's just one of the many, many things that work in this unique movie that comes dangerously close to redefining the concept of a psychological thriller.

But Heretic pulls its punches, setting us up for a final act that will blow our minds but delivering a final act that gets bloody and gory and ultra-violent and, at times, ultra-stupid. And yet, because the first two thirds are so terrific, and because that third act contains at least one cinematic trick that is among the best trick shots in movie history (yes, I know that's a big, big statement — it's a big, big shot), I want to be lenient with this film.

It's essentially a claustrophobic three-person exercise in tension that continually feels the need to open up the action. In a pretty ironic twist for a movie about the meanings of faith, Heretic doubts itself once too often. That's a shame, since confidence is its primary strength.

The setup is remarkably simple and no-frills: Two Mormon missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), follow up on leads as they try to preach their gospel, and visit the secluded (is there any other kind?) house owned by one Mr. Reed, an affable fellow who carries the embarrassed, halting charm of Hugh Grant. Good thing he's played by Hugh Grant.

He invites them in. They accept. Bad move.

Nothing feels right from the moment they step into the living room and smell the blueberry pie that Mr. Reed insists Mrs. Reed is baking in the kitchen. In fact, he says, the pie will be ready soon—so, while they wait, they should sit and talk.

Turns out Mr. Reed knowns a thing or two about the Church of Jesus Christ of Latter-Day Saints. More, it seems, than Sister Barnes or Sister Paxton. A lot more. About other religions, too. Just as things start getting really uncomfortable, the Sisters decide maybe it's time to leave. Mr. Barnes says he won't stop them. Needless to say, he's lying.

Tense, claustrophobic, uncomfortable and awkward, the first act of Heretic is nothing more than a setup, and it moves to a riveting half-hour stretch in which Grant takes center stage and takes Heretic into wild and fascinating directions. A long diatribe filled with histories of religion, pop music, board games and the very nature of belief is delivered with remarkable effect: In the midst of a horror film, the audience begins to think. (Or, I imagine, begins to get awfully antsy that nothing seems to be happening.) Heretic marks the first time I've come out of a horror film desperate to know more about music history.

Then, just when the movie has us in its thrall and can lead us down any path it chooses ... writer-directors Scott Beck and Bryan Woods take it to an ultra-bloody, violent place that doesn't let the interest flag even as it feels like a letdown. It also opens up some gaping plot holes and some flimsy narrative logic that never quite fits. After watching Heretic, I read one of those "the ending explained" articles, and it couldn't explain the ending. Or most of the last 20 minutes. I've worked it around and around in my head, and I can't quite make sense of some key questions about Heretic, though I won't give anything away by suggesting what they are.

It's worth seeing for yourself. Heretic is very much worth watching, even if the rabbit hole it promises viewers turns out to be pretty shallow and not nearly as topsy-turvy as might be hoped. Heretic tries a lot and achieves a lot ... just not quite enough.

Viewed November 10, 2024 — AMC Topanga

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