Although arriving with a comparable lack of fanfare compared to some of 2024’s more fastidiously marketed horrors (Longlegs, The Substance, etc.), Heretic is a thrilling, theater-worthy experience. Written and directed by Scott Beck and Bryan Woods, the film begins with two Mormon missionaries (Chloe East and Sophie Thatcher) proselytizing in a small town.
During an evening storm, Paxton and Barnes arrive at the house of a prospective convert, Mr. Reed (Hugh Grant). Sensing their hesitation to enter, Reed assures them that his wife is in the kitchen, preparing a pie, and will be joining soon. Initially, the conversation flows between Paxton and Reed. But, it slowly becomes evident to Barnes that there is no Mrs. Reed, and there is no way out. Through lengthy lectures, Reed reveals himself as a theologian who hopes to uncover the one true religion. Using metaphors of pop culture, he attempts to cast doubt over the missionaries’ faith and insinuates Mormonism to be a cheap copy of a copy (Christianity) of a copy (Judaism). Reed invites them to leave — the only caveat being they must choose which door to exit through. One reads “belief” and the other “disbelief.”
While Barnes argues that he overgeneralizes thousands of years of religion to shake the foundations of its validity, Paxton urges her to push down her faith and go down the door of disbelief. This tug and pull of whether to submit to Reed reflects the larger theme of women’s relationship with religion. The foundation of Reed’s game is that two young Mormon women will be easy to entrap and manipulate. Yet, his plan hits many road bumps because he overestimates Paxton and Barnes’ naivete.
The first scene sets up this idea when Paxton awkwardly (yet passionately) brings up sex work and pornography. She admits to having looked at porn – of course, clarifying that it was only to see if the actors felt remorse or shame. But, her curiosity toward a taboo subject demonstrates that, despite her unrelenting faith, she has questions that the church isn’t likely to answer with nuance. Christianity has a long, fraught relationship with women, often scrutinizing their appearance, sexuality, and behavior in the name of morality. With Reed questioning mormonism’s history of polygamy early on in the film, it’s no surprise how Beck and Woods choose to handle the rest of the film and this ethical dilemma.
Why have faith in something one cannot prove? Why have faith in a system that can harm, seemingly valuing one gender over another? Beck and Woods' script contemplates the trickier questions about spirituality. However, do not mistake Heretic as anti-religious. Besides their instinct to survive, it is Paxton and Barnes’s faith that carries them through the obstacles thrown at them, despite them being challenged time and time again. With Reed’s master plan offered as an alternative to faith, it’s clear that Beck and Woods do not condone his ideology either as outlandish and cultish as it ends up being. Ultimately, I don't think the film cares what viewers put their faith in. Whichever door one goes down will make no significant difference, as human beings are inherently vulnerable to anyone who seeks power or fancies themselves as God.
Casting Grant was an expert choice in this regard. Through every misstep and twist, his charm and control remain intact, lending to his innocence in the beginning and sinister nature by the end. Next to such a seasoned actor, East and Thatcher hold their own. Paxton’s curiosity and Barnes’ resistance drive forward a contained story with dialogue-heavy scenes. Even before a visible threat was presented, a simple microexpression from Thatcher ran chills down my spine. It’s a feeling many women will recognize, with or without a religious upbringing. Whether it was to spare Reed’s feelings or protect themselves from harm, Paxton and Barnes waited well past the time to demand freedom.
Heretic’s themes reminded me of Anna Kendrick’s directorial debut Woman of the Hour (2024). Released within about a month of each other, both explore the exploitation of women and the systems that silence and control them. Although both sympathize with and showcase the strengths of their protagonists, Woman of the Hour and Heretic concede that sometimes one cannot outfight something designed to suppress them. More psychological than horror, I recommend Heretic to any moviegoer who can tolerate a jumpscare or two. Its gripping subject matter and more-than-competent cast provide an exhilarating in-theater experience and leave viewers with more to ponder… as well as Radiohead’s “Creep” playing on an imaginary loop in their heads.
-Grace
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