Hannah Felsbourg
31 January 2025
Scott Beck and Brian Woods’ Heretic transforms the age-old quest for religious truth into psychological horror by exploring how extreme scepticism can birth its own dangerous orthodoxy. What begins as an intellectual debate between Mormon missionaries and their would-be convert becomes a disturbing exploration of how rational inquiry, when taken to extremes, can calcify into the very kind of dogmatic thinking it claims to oppose.
Mormon missionaries Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) arrive at the home of Mr Reed (Hugh Grant), initially declining to enter without another woman present. When Reed assures them his wife is busy in the kitchen baking pie, they accept his invitation. What begins as a theological discussion takes a dark turn when they discover the blueberry pie smell comes from a scented candle, the doors are locked, and their phone has no signal. Following Reed deeper into his home, they reach a chapel-like study where he presents them with two potential exits theatrically labelled “belief” and “unbelief”.
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The film’s greatest strength lies in its exploration of how scepticism can evolve into its own form of zealotry. Reed presents himself as someone who has studied all religions and discovered absolute truth through comparative analysis and rational inquiry. Yet his unwavering devotion to his own conclusions reveals him as a kind of anti-prophet, gathering followers not through promises of salvation but through the seductive certainty of doubt. When faced with challenges to his own beliefs, he deflects or dismisses them, displaying the same rigid thinking he condemns in organised religion.
Heretic is relatively dialogue-heavy, particularly in its early scenes. Yet rather than dragging, these extended conversations prove more compelling than much of the action that follows. The film builds tension through intellectual sparring and psychological manipulation before transitioning into more conventional horror elements. The production design cleverly mirrors Reed’s transformation from enlightened sceptic to fanatic leader. The deceptively cosy domesticity of “Bless this mess” embroidery and picture of a younger Reed with a dog giving way to the claustrophobic oppression of the study – a secular sanctuary where Reed performs his own dark rituals of conversion.
Hugh Grant delivers a masterfully disturbing performance as Reed, balancing menace with an almost charming dad-like humour that makes his character even more terrifying. His studied assurance and theatrical presentation feel instantly recognisable to anyone who’s encountered zealous ideologues of any stripe, whether religious or atheist. Both lead actresses, former Mormons themselves, bring compelling authenticity to their roles as they navigate this clash of worldviews, particularly in their evolution from defending their beliefs to recognising the dangers of absolute certainty in any form.
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While the film’s theological arguments often feel shallow – drawing heavily from popular scepticism rather than deep philosophical enquiry – the broader narrative offers more substance. The subtext explores how the tools of rational inquiry can be weaponised to create new forms of control and manipulation. The sisters’ journey suggests that true scepticism requires humility and openness rather than the rigid certainty Reed embodies, while his unshakeable faith in his own conclusions becomes a dark mirror of religious fundamentalism.
Heretic works best as a psychological thriller about the perils of certainty in any form – whether it wears the clothes of faith or reason. While its philosophical ambitions may exceed its reach, the film succeeds in creating an unsettling exploration of how easily the quest for truth can become its own cult of personality, and how intellectual humility might be our best defence against manipulation.
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