Scott Beck and Bryan Woods, who previously directed 65 and Haunt and wrote A Quiet Place, brought us Heretic, a self-described psychological horror that falls short across the board. After seeing only one trailer months ago, I initially assumed Heretic would be about a serial killer (played by Hugh Grant) using an elaborate house filled with mouse traps to lure in and kill religious door-to-door visitors. While there’s some truth to that idea, Heretic centers on two missionaries from The Church of Jesus Christ of Latter-day Saints: Sister Barnes (Sophie Thatcher, known for The Book of Boba Fett) and Sister Paxton (Chloe East, who appeared in The Wolf of Snow Hollow). They visit the home of Mr. Reed (Grant), a man who expressed interest in learning more about their faith. Once inside, the two women find themselves trapped within Mr. Reed’s strangely complex house, which features electricity on a timer, a front door that won't open until morning, and metal construction that blocks cell phone signals. Reed, a former theology student with extensive knowledge of various religions, claims to have discovered the one true faith. Whether the women will escape or if Reed’s beliefs are valid contributes to the film’s intellectual side. Martin Freeman often seemed miserable and bored in films like The Hobbit trilogy and Sherlock, but he appeared genuinely enthusiastic when he moved into horror with 2017's Ghost Stories. The same seems true for Hugh Grant. Although this isn’t his first foray into horror, it marks his return to the genre after 36 years (he starred in The Lair of the White Room in 1988). Grant is noticeably energetic and even gleeful in his performance as he torments the missionaries. With cinematography by Chung Chung-hoon (Last Night in Soho, The Handmaiden), Heretic features two visually striking sequences due to their unique camerawork. Upon their arrival, Mr. Reed leaves the room to check on his “wife.” While he’s gone, Barnes relights a candle and discovers its scent. As she slowly turns the candle, the camera follows her movement. Reed has crafted a miniature replica of his house, complete with tiny figures representing Sister Barnes and Sister Paxton. During a sequence where Sister Paxton attempts to flee from Mr. Reed, the film shifts between following her movements in the model and seamlessly transitioning to the real thing as she enters a room and slams the door. The writing in Heretic is somewhat peculiar. It’s not frightening enough to be truly scary, with dialogue about defying religious beliefs taking center stage. The movie essentially feels like a two-hour lecture trying to undermine your faith, interspersed with occasional bloodshed and the deaths of a few women—one while covered in blueberry pie. It's possible that someone deeply devoted to Mormonism might leave the theater questioning their beliefs after seeing Heretic. Mr. Reed’s arguments about all religions sharing common roots are presented in a convincing manner. He somehow connects his points through discussions of Monopoly and board games, music, and vinyl records, illustrating similarities between certain board games, how songs often use the same melodies with different lyrics, and that all religions have more in common than they differ. While the dialogue-heavy film can be engaging at times, it also feels quite dull. There’s an unsettling quality to Mr. Reed’s behavior that builds tension within the story. However, there are also long stretches where nothing happens besides another topic of conversation or a lackluster payoff involving someone's throat being cut with a box cutter or something similar. Heretic is beautifully filmed and features a strong performance by Hugh Grant, but its intriguing premise is overshadowed by an apparent desire to deconvert the audience and reveal whatever the “one-true religion” might be. Watching it feels like being trapped in a church service for a faith you don’t believe in, with an overly zealous pastor trying to convince you never to return.

Source on TMDB