Review: ‘Heretic’ delivers a new brand of extremism


By Sarah Gopaul
November 8, 2024

A scene from 'Heretic' courtesy of TIFF

‘Heretic’ is a thrilling debate between opposing religious beliefs that turns malicious when one side proves determined to win at all costs.

The world is filled with people who have different lifestyles and beliefs. This diversity makes life rich and provides endless opportunities for new experiences. It nurtures acceptance and commands understanding. However, it also leads to a lot of disagreement and conflict. Some discourses are healthy as it is important to challenge ideas, but others are dismissive and violent as they have no tolerance for anything that doesn’t align with their views. In Heretic, a man invites a pair of young women into his home for the sole purpose of questioning the validity of their religion.

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are travelling to people’s homes who’ve shown an interest in learning more about the Church of Jesus Christ of Latter-day Saints. As Mormons, they follow a distinct set of rules when it comes to these house visits, but Mr. Reed (Hugh Grant) assures them all is well. He has some very stimulating thoughts and questions about their religion, and Paxton thinks she may finally convert someone. However, as the conversation derails, the young women find they cannot leave and have been tricked into participating in a series of experiments so Reed can test their faith.

Religion is generally one of the most contentious subjects in human history. Wars have been waged, cultures destroyed and people forcibly converted as one group determines their beliefs are superior to all others. In some instances, people are brought up in one religion, but as they get older they find another dogma better aligns with their principles. Reed believes he’s found the one true religion and resolves to convince the Mormon missionaries that they’ve dedicated their lives to the wrong one. What begins as moderate prodding of their convictions — including a provocative metaphor involving Monopoly — slowly evolves into terrifying tests of their faith.

The writer-director team of Scott Beck and Bryan Woods thrive on creating stories that unfold in unique circumstances. The film’s opening acts are intensely thought-provoking as Reed initiates an intimidating debate to which the girls can only provide wrong answers and only he can win. Grant’s performance is incredibly unsettling as his calm demeanour masks a sadistic need to be right at all costs. Barnes recognizes that this is a vicious game and encourages Paxton to help her challenge Reed to advance their survival to the next level. Paxton is the meeker of the pair as she was raised in the church and Barnes, while similarly devoted, is a convert and still retains some of her more stubborn qualities.

Regrettably, the last act loses the thread to some degree. It introduces some ideas with great potential that are not fully explored, while also rejecting Reed’s doctrine by significantly shifting his character’s arc. An intriguing model is used sparingly in the narrative, though it could’ve been a far more curious prop if better utilized. Similarly, Reed’s wife’s role in his quest for the truth is only mentioned in passing, though there’s a sense that there’s a bigger, untold story. It’s unfortunate the narrative loses its stirring momentum at the end, but the rest of the picture and Grant’s latest turn as villain is still worth the watch.

Directors: Scott Beck and Bryan Woods
Starring: Hugh Grant, Sophie Thatcher and Chloe East