Heretic review: Hugh Grant is delightfully unhinged in this smart horror

Heretic is the most philosophical horror movie you’ll see this year. It might even be one of the most philosophical horror films of the past two decades. The film comes from writers/directors Scott Beck and Bryan Woods. And while they may have had a tough year in 2023 with their dino-thriller 65 and the Rob Savage-directed The Boogeyman, which they penned, Heretic delivers terrific suspense and a smart screenplay, much like their magnum opus, A Quiet Place.

The best sorts of horror films derive their thrills, not from jump scares and gore, but from character, imagery, and tension. And this is where Heretic massively excels. This is a very insightful film designed to question the nature of organized religion, explore the notion of how far one might go in the name of faith, and skillfully dive into the biggest question of all: why do we believe in what we believe in? This leads directly into a cat-and-mouse battle of wits between our protagonists, Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher), and our movie maniac, Mr Reed (Hugh Grant).

The movie centers on two Mormon missionaries, who, after receiving a call of interest from Reed, come to his home to tell him more about the Mormon faith. Little do they know the entire thing is a setup, as Reed quickly reveals his true intentions. As a deranged theology scholar, he’s looking to put their faith to the test, imprisoning them, and running dark experiments on them that will have them questioning the nature of the God they’ve chosen to serve.

Off the bat, the performances in this film are outstanding. Thatcher is absolutely becoming one of the best horror actresses in Hollywood. Her level-headed demeanor and fearlessness are perfect for the role of the more experienced and world-weary Barnes. While East perfectly encapsulates the bubbly naïve energy and adorable nature of the younger Sister Paxton, but also expertly steers the performance into a mature, and wiser direction as the character develops through the film. Overall, the protagonists are actually very smart characters. Woods and Beck make us like them, because from the very opening of this horror movie, these characters are making the decisions we, as humans, would.

However, without casting any shade to the terrific performances from East and Thatcher, it’s still no exaggeration to say that the movie is anchored by a delightfully unhinged performance from Hugh Grant. This is an absolute 180-degree role from the ones we typically see him in. But Grant is able to use those expectations and charm to his advantage.  And it's because Grant knows how to use his trademark charm in ways that are both endearing and also menacing, which makes every scene with him tense, but never over-the-top or cartoonish. It’s absolutely masterful work from Grant, and, if I may say so, one of the best performances I’ve seen all year.

Much of the film rests upon the sharp dialogue between Reed, Barnes, and Paxton. And thankfully the screenplay by Woods and Beck keeps the conversations compelling, creating so much tension. There’s also a lot the film has to say about the idea of organized religion and our relationships with it. Exploring this topic is not an easy one to tackle. But Woods and Beck have added smart points and counterpoints in favor of each perspective that make us think about the validity of every battle in the movie. For instance, the film contains a "Monopoly monologue" to explain the idea of religions ripping off one another. The viewpoint was so enlightening, but so was Barnes' response to Reed's questioning of their beliefs. And all of this is vital not only to establish the narrative but also to establish who these characters are and why we should root for our protagonists. Barnes and Paxton aren’t damsels in distress. They are firm players in the games the twisted Reed is playing. So throughout the movie, as Reed waxes poetic about his points, you’ll hear them making terrific arguments back at him about the very nature of faith and belief.

That being said, from a horror perspective, there are so many disturbing things. From the twisted concepts of how far Reed's basement extends, to his overall motivations and internal beliefs. Woods and Beck are so great at establishing mood and milking the creep factor out of every shot in this movie. The film is incredibly filmed by DP Chung Chung-hoon, known for his collaborations with Oldboy director Park Chan-wook. And thanks to Chung, we are on the edge of our seats regardless of whether we’re looking at an unsettling inanimate statue watching our protagonists, or following Grant's Reed into a vacant, dimly lit hallway.

I will say that not everything about the final act of the film worked entirely. As fun and messed up as the twists are in Heretic, by the final act, we start to see the presence of a few too many. And to build up to a decent payoff that was fine, but it was one that was more or less unworthy of the first few acts that preceded it. That doesn’t mean it doesn’t end strongly overall, but this is definitely the weakest act of the film since it steers too heavily into more traditional horror movie fare.

Overall though, Heretic is a smart, well-written, horror film anchored by stellar performances from Thatcher, East, and especially a chilling Hugh Grant. It’s a film about belief that deconstructs the very nature of organized religion and our relationship to it. With beautiful, chilling cinematography, a sharp script, and moments that will make you squirm in your seat, Heretic definitely ranks high among the year’s best horror films!

Heretic is in theaters now.