As someone who has spent countless hours watching horror films and delving into the depths of religious debates, I found “Heretic” to be a unique blend of both worlds. The film’s dialogue-driven nature was both intriguing and exhausting, much like a long, late-night theology discussion with an overzealous acquaintance.
As a fervent admirer, I’d say that Sisters Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are no strangers to rejection. They’re constantly out promoting the Church of Jesus Christ of Latter-day Saints, hoping to bring in new members. But most times, they’re met with indifference or dismissal. That’s why their encounter with Mr. Reed (Hugh Grant) was such a refreshing change of pace. Instead of shutting the door on them, he warmly welcomed their faith and expressed eagerness to learn more. Giving them comfort by mentioning his reserved wife was in the kitchen, he invited these two ladies into his home for a deeper discussion about Mormonism.
To begin with, Heretic presents their conversation as cordial, if somewhat tense, as Mr. Reed queries them on a variety of topics, from religious beliefs to favorite fast foods. However, the atmosphere soon turns ominous when Barnes suspects Reed is not entirely truthful. Trying to leave the house amplifies their fear, as they find the door securely locked. It later transpires that Reed had a hidden agenda for inviting these two inside. Contrary to what they thought, he isn’t curious about Mormonism; instead, he aims to test Barnes and Paxton’s faith.
In the imaginative hands of writers/directors Scott Beck and Bryan Woods, the movie Heretic is primarily a tale told through dialogue. A significant portion of the film involves Reed expounding on his religious ideas or using intricate metaphors to delve into theology. To heighten this contrast, Beck and Woods often have Chris Bacon’s score swell dramatically, only for Reed to unexpectedly ask about McDonald’s or Monopoly in Grant’s smooth British tone. This creates a layering of contrasts. It’s not just that everyday questions are paired with a chilling backdrop. Beck and Woods also inject humor by having Grant reference, using the most refined English accent, iconic 90s pop culture elements like Radiohead and Jar-Jar Binks.
In these dialogue scenes, there’s an amusing yet ominous vibe, with Grant delivering a remarkable performance in his role as a heretic. However, the script often gets stuck in a loop, filled with long explanations or theories from Mr. Reed, which makes the story feel repetitive. It reminds me of when Quinta Brunson said she didn’t want the characters from Abbott Elementary to sound like they were merely repeating Twitter feeds. Unfortunately, Heretic sometimes feels like it’s just rehashing religious rhetoric found on social media. While the captivating performance by Grant helps, the language used in these discussions can still feel less engaging at times.
In simpler terms, the story focuses heavily on transforming Clive Durham/Daniel Cleaver/William Thacker into a chilling contemporary monster, obsessed with debating women, at the expense of fully developing Barnes and Paxton as lead characters. These two often serve as passive observers during Reed’s symposiums, rather than active participants. By the final act, their primary function is to share information about Reed’s plans and schemes with the audience. In contrast, a film like Red Rocket prioritizes marginalized characters by focusing the camera on their faces whenever the repugnant male protagonist speaks disparagingly about immigrants or women. The camera keeps the focus on the oppressed, rather than the oppressor.
In the dialogue-heavy approach of “Heretic,” the visual creativity sometimes gets overshadowed. Nevertheless, directors Beck and Woods manage to create a largely effective horror film. Despite the excessive chatter from Mr. Reed’s character, Hugh Grant delivers an outstanding performance that steals the show. Recently, Grant has enjoyed playing unsavory characters in various projects such as “Paddington 2” and “Dungeons & Dragons: Honor Among Thieves.” In this film, the close-knit setting of “Heretic” allows Grant’s captivating charm to surface and escalate into a chilling level of menace. His ability to keep a cheerful demeanor while performing heinous acts is unsettling, a feat that Grant executes with skill.
The sound team of the Heretic movie contributes significantly to its overall impact. Artisans such as foley recordist Gareth Baird design a collection of sounds for Mr. Reed’s house that are simultaneously unsettling and reminiscent of an older man’s dwelling. Sounds like a small wooden pipe creaking while dispensing rainwater can frequently be heard in the background of different scenes, which is a sound one might associate with a dull office environment. However, within the chilling setting of Mr. Reed’s house, this noise effectively adds to an uneasy ambiance. From afar, that creaking seems like a clock ominously counting down the time our protagonists have left.
The sounds of creaking floorboards, striking matches with urgency, and the whirring of gears within a small box are distinctively recognizable due to the sound team’s expertise. These noises, combined with the convincing performances of Thatcher and East, make the most suspenseful scenes in Heretic feel grounded. A particularly gripping moment is a prolonged sequence where the characters struggle to retrieve matches scattered across another room. Despite its imperfections, Heretic offers numerous nail-biting horror scenes that should appease many fans of the genre.
Sadly, while the film showcases some admirable themes, it’s marred by some awkward visual choices. For instance, certain scenes that blatantly set up plot devices (similar to Chekhov’s guns) feel clumsily inserted and become crucial in the third act. Additionally, the film relies too heavily on Grant delivering explicit themes out loud, making it overly explicit for my preference. Despite being a well-made movie with three impressive performances, particularly from Grant, it fails to capture the essence of great horror. Instead, it seems burdened by flaws like excessive monologues and predictable endings, which detracts from its impact.
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2024-11-15 19:15