Opening in the multiplexes this weekend:
Heretic--One rainy day two American LDS missionaries, young women, go to the door of an ugly, rambling house in Scotland. The resident is what would be called, in door to door sales, a premium lead: he's expressed interest in the product.
The gent in question, Mr. Reed (Hugh Grant), solicitously invites the young ladies in out of the rain. They explain that, for safety's sake, they aren't allowed to go inside without a woman present, but he charmingly insists, saying that his wife will join them once she's finished baking a blueberry pie in the kitchen. So Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) follow him into the oddly cheerless front sitting room--it looks like the waiting room of a funeral parlor--and he locks the door behind them. But they can smell blueberry pie, so they aren't too alarmed, yet.
Needless to say, the two of them aren't going anywhere anytime soon, except farther into the house. This shocker, co-written and co-directed by Scott Beck and Bryan Woods of A Quiet Place, belongs to the horror subgenre in which one or more women are held prisoner by a maniac. Earlier examples include The Collector (1965), with Terence Stamp and Samatha Eggar, Crawlspace (1986) with Klaus Kinski tormenting Talia Balsam, the notorious Human Centepede (First Sequence) (2009) by Tom Six, or Room (2015) with Brie Larson. Heretic has echoes of all of these, but it's highly original all the same.
Although it seems to safe to safe that there's a sexual subtext to the motivations of all the captors in these movies, the overt reasons vary. In The Collector, for instance, there's a class element; in Crawlspace there's a Nazi guilt angle, and so on. In Heretic, the crazy derives from religious studies.
Mr. Reed, you see, is a fanatical questioner of all religious "iterations," and debunker of the idea that any of them represent the "one true religion" as they claim to. As the facade that his guests are free to leave whenever they like gradually but steadily melts away, he lectures them, in the manner of a raffish college professor, about the innumerable links and parallels between modern mainstream faiths and ancient religious traditions, using pop culture and popular music as analogies.
It would be a rather agreeably stimulating summary of Comparative Religion 101, if they weren't being held hostage and all. Sister Paxton even makes a brave attempt to debate her self-appointed pedagogue, but while there may be arguments against Mr. Reed's theses, the ones Beck and Woods place in her mouth seem thin and non-sequitur, which, in context, makes her desperation all the more touching. Mr. Reed, however, remains affably unmoved.
The heart of Heretic is Grant. I've always been a fan, but I've especially enjoyed his work as a comic villain in recent years in stuff like Paddington 2, Dungeons & Dragons: Honor Among Thieves and Operation Fortune: Ruse de Guerre. His Mr. Reed is a good deal darker than any of these, to be sure, but the performance is still based in the diffident, apologetic, wryly sheepish Grant persona familiar from his romcom work. It's one of the best roles he's ever had, and you can feel his pleasure in it.
His two young costars are also strong. Chloe East, hilarious and adorable as the girlfriend in Spielberg's The Fabelmans, gives Sister Paxton some of the same gushy avidity. Balancing her is Sophie Thatcher as Sister Barnes, of more worldly background and thus more reserved and alert. Thatcher also sings a haunting cover of "Knockin' on Heaven's Door" over the end titles.
Eventually Sister Barnes and Sister Paxton are offered a "Lady or the Tiger" type of choice, and find themselves in the basement. From here, Heretic goes full-on gothic, and gory, and the blueberry pie re-enters the tale. And as so often when thrillers tip over from literate tension into gruesome grappling, it seems to shrink the movie a bit.
Not enough, however, to diminish the value of these performances, or of the rising dread, shot through with chilling wit, that infuses the film. The sexual politics would seem to have some slight relevance at this moment in our history, too; Mr. Reed's practice of what he considers the One True Religion appears to be devout, zealous mansplaining.
By the way, as we left the press screening I attended in the Valley, the marketing company handed us small blueberry pies, custom made for the evening by SΓΌss Pastries here in Phoenix. I took mine home and passed it on The Wife, who proclaimed it good. I can't say, however, that Heretic particularly gave me an appetite for blueberry pie for a while.
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