Heretic, directed by Scott Beck and Bryan Woods, is a taut, smartly scripted thriller that turns sharp, dialogue-driven exchanges into a chilling exploration of faith, control, and survival. The film's clever script transforms a seemingly simple setup into a gripping study of belief and manipulation. The film stars Sophie Thatcher and Chloe East as Sister Barnes and Sister Paxton, two young LDS missionaries going door-to-door in a quiet, rainy suburb to speak with those who've expressed interest in the Church of Jesus Christ of Latter-Day Saints. Paxton's open-heartedness and delightful naïveté radiate warmth and curiosity as she eagerly engages with people. East's performance is a perfect embodiment of this innocence that's instantly endearing. Thatcher's Barnes, on the other hand, is slightly older and more experienced, with a subtle edge of reserve that hints at an inner struggle. Though she's seemingly proud of her track record as a missionary, her outlook is clearly less idealistic than Paxton's—a duality that sets the stage for one of the film's central tensions.

After a little light-hearted banter and a brief montage of the girls bicycling to various prospective converts' homes, the story truly kicks off when the girls arrive at the home of Mr. Reed, a charismatic and kindly gentleman played by Hugh Grant. Just as the conversation begins, a torrential downpour erupts, and Mr. Reed warmly invites the missionaries inside. The girls politely explain that they can't enter a home without another female present—a guideline rooted in the Church's emphasis on safety and propriety, designed to prevent situations that could appear compromising. However, Reed doesn't miss a beat, reassuring them that his wife is baking a blueberry pie in the kitchen. This seemingly innocent offer gently pressures the missionaries into bending their own rules, setting up a subtle but telling test of their adherence to church boundaries. By stepping inside, they unknowingly set the stage for a much deeper challenge to their beliefs as Reed's true intentions unfold.

Grant is exceptional, bringing his signature charm and affability to Reed, making him instantly approachable and trustworthy. But in true horror fashion, there's an unmistakable sense that his kindness might mask something darker. Reed's initial questions are innocuous enough, but soon, he begins steering the conversation into uncomfortable territory. A provocative question about the Church's stance on polygamy, once a foundational doctrine, is intentionally unsettlingbut is shrewdly cloaked in Reed's supposed intellectual curiosity. As the discussion deepens, it becomes clear that Reed has much more elaborate and sinister intentions, drawing the missionaries into an intense psychological game of cat and mouse that tests their faith, wits, and survival instincts.

Beck and Woods' script is a significant leap from their previous work on 65, a high-concept sci-fi thriller that, while mildly entertaining, relied on spectacle over substance--and was only marginally successful at that. Heretic, similarly, could be considered another high-concept thriller. I liken its conceit to Saw but for religious ideologies, pitting Grant as the theological Jigsaw. But here, the high concept is reinforced by an incredibly smart and engaging script that proves they can create suspense even in the quietest moments, using nothing but razor-sharp exchanges. Theological discussions are filled with relatable illustrations that ground their abstract arguments, using everyday cultural icons as examples of religious iteration. Reed compares the progression of major religions to the likes of board games, fast food chains, and popular music, questioning whether religions are merely versions of each other, adapted for new contexts or eras. These comparisons make the theological conversations unexpectedly colorful and even humorous, especially as they lend themselves to some perfectly chosen needle drops.

Beck and Woods have also stepped up their directing game. The confined setting of Reed's home adds a claustrophobic element that heightens the suspense, transforming the house into a character in its own right. Beck and Woods shoot the home with a reverence usually reserved for places of worship, framing the narrow front windows and the looming arch of the door in ways that make the modest residence feel like a cathedral or temple. The filmmakers even introduce a miniature model of the house in Reed's study, blending shots of the model with interior scenes to create a disorienting, labyrinthine effect. This clever directorial flourish heightens one of the film's more tense moments. A handful of these small flourishes are executed judiciously and with exhilarating results.

I'm attempting to not divulge too much of the plot, as much of the thrill can be attributed to experiencing the events unfold. As the exchanges between Reed and the missionaries intensify, Heretic becomes a gripping cat-and-mouse game. Reed's probing inquiries expose the inherent fragility of religious dogma and reveal one of the film's central themes--religion as a tool for control. He argues that doctrines shift over time, shaped to suit the needs of institutions and authorities rather than absolute truths. His line of reasoning implies that belief systems, rather than being divine in origin, may, in fact, be constructed mechanisms for control—a concept that gnaws at the core of the girls' faith, casting doubt on the certainty they rely on. It's a sobering reminder of how religious structures can manipulate individual beliefs to maintain institutional power, turning faith into a double-edged sword.

Heretic is ultimately a thrilling piece of horror cinema. Beck and Woods' direction is carefully paced, and their script is cleverly crafted. The performances from Thatcher and East are exceptional, portraying the missionaries' resolve and vulnerability with remarkable nuance, particularly as their characters navigate the unnerving reality that their faith may not protect them from Reed's psychological trap. Grant's performance is brilliant in its duality; he balances charm and menace with expert precision, making Reed a villain who's as captivating as he is unsettling. 

Heretic is a refreshing entry into the realm of religious horror, offering a twisted, dialogue-driven thriller that had me hanging on every word. For those who relish films that combine intellectual rigor with chilling tension, Heretic is a must-watch. Perhaps make it a double feature with Conclave.

— 4.5 / 5 ⭐