I suppose that many of us have had the god-squad on the doorstep trying to peddle their philosophising but I doubt many are quite as prepared, or as tempting, as the butter-wouldn't-melt "Reed" (Hugh Grant) when the enthusiastic sisters "Barnes" (Sophie Thatcher) and "Paxton" (Chloe East) arrive at his door. Promises of a meeting with his wife and some blueberry pie lure them in and soon they are having a meaningful debate that rather puts the girls on edge. That anxiety only gets worse as there's no sign of the wife and the scented candle proves to have a most unusual, and illuminating, aroma. They conclude that getting out of his home is the best plan, but that isn't going to be straightforward. He has other plans, and they are going to have to play a game of belief/disbelief if they are to have any hope of getting back to their church. The horror aspects of this are not especially interesting - it's a sort of competent hybrid of "Escape Room" meets "Cluedo". What helps this stand out a bit more is a subtly menacing effort from Grant and the standard of the writing. The conversation between the three for the first half of the film is quite thought provoking in itself. It asks questions that are truly valid and worthy of consideration amongst those of or without organised faith. The assertions around "iterations", burgers and games of "Monopoly" also raise a few solid questions about carts and horses that I rather appreciated as we are invited to question or evaluate the whole scope of monotheistic religions and their role in our lives. The two women gel well together here too, realising that they are in some sort of peril - both intellectual and physical, and that latter threat is well demonstrated by some creepy settings and creatively used audio. I didn't love the conclusion - I actually found it really quite disappointing, as if Scott Beck had just run out of ideas or didn't quite have the courage of his earlier convictions, but this is the most substantial part I've seen Grant play in a while and he holds it together well. Not your typical psychological drama and worth a watch, I'd say.

This is a gruesome, bizarre, preposterous, and utterly watchable film. It is a twisted cocktail made surprisingly digestible thanks to Grant's impeccably dapper portrayal of pure malevolence. His performance brings a sinister charm that tempers the madness, making the film's more outlandish horrors feel almost refined.

In the new film “Heretic”, two missionaries named Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) spend their days in fellowship and looking to bring new members into their faith. Sister Paxton is the more sheltered of the two as Sister Barnes comes from the East Coast and joined the church through conversion and appears much wiser in the ways of the world to her colleague. Eager to get her first new member for Sister Paxton; the two venture to visit Mr. Reed (Hugh Grant), who had earlier expressed interest in their church and as such; made his way onto the contact list for the girls. A storm arrives at the same time the girls do but unable to enter the home of Mr. Reed without a female being present; they are assured that his wife is baking in the kitchen and accept his offer to come in out of the weather. They find Mr. Reed charming and very well-versed in theology as he says that he has been studying religions for over a decade and his knowledge is very impressive to the girls yet his questions, answers, and tone start to become disturbing to the girls as does the absence of his wife whom he claims is just in the other room. Looking for a chance to leave, the girls discover that they are locked in and the house has a metal overlay that blocks their cell signals. Further complicating matters is the increasingly odd behavior of Mr. Reed who insists that they are free to leave at any time yet confronts them with all manner of theological questions, theories, and challenges at every turn. What follows is a chilling exercise in faith for the girls in a gripping film that keeps you guessing all along. The cast is solid and Grant is very good playing against type. This is not the usual psycho slasher that audiences often see in films of this type but a deep psychological game of terror and manipulation as he believes that he is helping the girls see the truth amongst all the dogma. The film does play a bit to Hollywood for my taste in the final act as certain revelations and outcomes went away from the clever premise that had been established in favor of more traditional situations, but the vast majority of the film was chilling, engaging, and captivating and was powered by strong performances all around. Directors Scott Beck and Bryan Woods who also wrote the film; are no strangers to Horror and Suspense as their resumes are filled with some very tense films and have crafted a film that works as an intense thriller. 4 stars out of 5

No matter what anyone might say, putting lipstick on a pig doesn’t change the fact that one is still dealing with a pig. And that’s very much the case with this dismally failed attempt at smart horror from writer-directors Scott Beck and Bryan Woods. When two naïve Mormon missionaries (Sophie Thatcher, Chloe East) visit the remote home of a creepy, loquacious middle-aged loner (Hugh Grant) in an attempt to convert him, the trio launches into a protracted conversation about the nature of “the one true religion.” To a certain extent, it’s an intriguing philosophical discussion – at least for a while – until it gradually descends into a series of longwinded fits and starts characterized by disjointed, unrelated, unresolved segments that try viewer patience. The dialogue increasingly amounts to a series of overwrought contrivances undermined by implausible character development, particularly among the two supposed innocents who begin spouting lines that are difficult to accept in light of their supposedly gullible, unsophisticated nature and narrow worldview. But then, in a desperate attempt to retain fading audience attention, the picture degenerates into little more than a meandering slasher movie, albeit with better production design than one typically finds in such fare. What’s more, this offering’s exasperating script heavily “borrows” from an endless stream of religious, philosophical and cinematic sources, one even suggesting that this could turn into the second coming of “The Butterfly Effect” and “Matrix” franchises. And, while Grant and his co-stars genuinely deliver more than capable portrayals of the three principals, even their performances aren’t enough to cover the inherent weaknesses of this material, no matter how much lipstick is applied to it. Considering the foregoing, I’m truly mystified by the much-celebrated response this offering has been accorded given its tiresome narrative and pretentious, largely pointless overall direction, an experiment that just doesn’t work. As a fan of the smart horror genre and its aim of elevating the content of more classic releases in this area of cinema, I’m seriously disappointed that the inspired creators of “A Quiet Place” (2018) haven’t come up with something better here, an outcome that’s definitely heretical in itself.