Hugh Grant’s horror reinvention is finally here with the release of Heretic, a psychological thriller that ruminates more on the complex aspects of religion than most fright flicks.
For those unconvinced by the movie’s horror pedigree from its tense but ungory trailer, rest assured that the film’s third act involves mutilation, death and creepy revelations about villain Mr Reed’s maze-like house. It’s just a refreshing take on the genre unlike most others.
And while Heretic is an intriguing prospect with its approach to debate and engaging Mr Reed (Grant) in a confined cat-and-mouse chase with two Mormon missionaries, it does have a few stumbling points for me.
However, the headline inclusion of Grant’s Mr Reed is what fans are most attracted by – and the British star delivers yet another bravura performance in a career now less and less defined by his bumbling rom-com persona from the 90s.
Interestingly though, it’s not a complete departure from that in the way that his performance was in, say, Cloud Atlas (the movie that inspired Heretic’s filmmakers to cast him) or as a grumpy Oompa Loompa in Wonka. Grant as Mr Reed is still blinky, British and a little awkwardly charming – that’s how Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) are first lured into his home.
He deliberately disarms them with his chatter and openness, despite a passing reference to metal in the walls and ceilings when they enter – a first red flag for me in immediately thinking that it’s offputtingly weird and will also impact on mobile reception… But it passes without comment.
Sister Paxton, earnest and bubbly, is keen to get her first baptism into the church and hopes Mr Reed will be the right candidate, while Sister Barnes – cooler and more reserved, with her background shrouded in mystery – is there to support.
What Heretic does very well is offer a more modern take on Mormonism for cinemagoers who may be unversed. Yes, the two young women are passionate about their religion, but they are also aware of the stereotypes surrounding them, with references to their ‘magic underwear’ as well as a brief discussion of the famously raucous and profane stage musical, The Book of Mormon.
The movie also disarms the viewer almost instantly by opening with the two having a pretty frank – and very funny – conversation about condoms and porn. With Sister Paxton’s nervous titters around ‘elephant trunks’ and use of the verb ‘sexing’, it’s also a clear way of showing the difference in their backgrounds.
This light relief is also something Grant enjoys playing with, so when Mr Reed’s nefarious plan begins to become apparent to the Sisters, his relaxed manner takes on an extra level of creepiness. The Four Weddings and a Funeral actor’s use of the term ‘mucky pup’, for example, must be a first for the horror genre – and has also never before this sent chills down my spine.
Grant’s casting is Heretic’s ultimate coup, but East and Thatcher prove more than able co-stars in a battle of wills and survival between their characters.
Writer-directors Scott Beck and Bryan Woods have also crafted an intelligent script that I can understand tempting Grant into his next unexpected choice of role. However, it does start to unravel a little as the stakes heighten and Mr Reed’s obsession with finding the one true religion is fully revealed and (sort of) explained.
As the audience learns of his methods and he tries to get Sisters Paxton and Barnes involved, we enjoy moments of shock and one especially grisly section involving Grant and Barnes where I had to turn my face from the screen in revulsion. But the dialogue and revelation that come straight after had me struggling to suspend my disbelief and took me right out of Heretic’s tense storytelling for a moment. I think it might be the same for other female film watchers too, perhaps.
Nevertheless, Heretic is a must-watch for any Grant or horror fans and probably a should-watch for others too. It just doesn’t quite stick the landing for me – but not at the expense of the intrigue that comes before.