Religion has long been a fundamental theme in horror narratives, interweaving supernatural elements, gothic imagery, and the timeless struggle between good and evil. Unlike traditional horror films that frequently delve into the familiar realms of Catholicism and the occult, Heretic, the innovative new film directed by Scott Beck and Bryan Woods, takes a bold and refreshing departure by exploring an uncharted territory. The narrative unfolds around two Mormon missionaries who inadvertently find themselves at the doorstep of the wrong house, setting the stage for an unexpected and gripping tale.
Surprisingly, a significant number of 20-year-olds are not enthusiastic about knocking on strangers’ doors to discuss their faith. The emotion of standing on a doorstep, with a name tag prominently displayed on one’s coat, is complex – a mix of hope, apprehension, and uncertainty about who will greet them and how they will respond. For those raised in the Church of Jesus Christ of Latter-Day Saints, serving missions is encouraged but not obligatory, providing opportunities not merely for conversion but fundamentally for personal, spiritual, and professional development.
In a compelling opening scene of Heretic, Sister Paxton (Chloe East, known for her role in The Fabelmans) and Sister Barnes (Sophie Thatcher from Yellowjackets) are introduced sitting on a park bench in a picturesque but wintry Colorado town. Their initial conversation, awkwardly revolving around the topic of pornography, takes a thoughtful turn when Sister Paxton prompts, “How has God shown you?” Surprisingly, the film quickly transitions to a surprisingly realistic portrayal of the everyday life of a Mormon missionary, showcasing both the mundane and profound moments of their journey.
As ominous clouds gather and the daylight begins to fade, Sisters Paxton and Barnes make their way to the doorstep of Mr. Reed (Hugh Grant), who has requested their visit. Welcoming them into his home, they express their hesitance to be alone with a man; he reassures them that his wife is present and escorts them into his cozy living room, promising them warmth and fresh blueberry pie, a stark contrast to the relentless rain outside. Grant, with the charm that endeared him to audiences in classic romantic comedies, embodies Mr. Reed perfectly, creating an air of trust and ease, especially for Sister Paxton.
While Sister Barnes approaches the situation with some suspicion, her delight is palpable when Mr. Reed showcases his well-worn copy of the Book of Mormon, which prompts her to exclaim, “I think you’ve studied more than we have!” Grant’s signature crooked smile and self-deprecating wit further draw them into a seemingly innocent exchange. Yet, the audience senses an unsettling undercurrent beneath the congenial conversations, leading to questions about trust and the hidden dangers that await the sisters.
The ensuing dialogue resonates not so much for its themes but for its familiarity and sincerity. Having once been a young Mormon missionary myself, I have participated in countless living room discussions about faith – a spectrum ranging from warm and enlightening to aggressive and discomforting encounters. It is evident that Beck and Woods conducted thorough research into the authentic experiences of Latter-Day Saint missionaries. While some narrative elements may feel slightly disjointed when conveying such a specific cultural context, the overarching theme remains clear: the story is primarily focused on the harrowing events transpiring within the house rather than the broader outside world.
Sophie Thatcher and Chloe East deliver standout performances, infusing their roles with depth that elevates them beyond mere stereotypes. Thatcher’s Sister Barnes emerges as a nuanced character, possessing intelligence and a hint of fatigue from her experiences, while East’s Sister Paxton embodies an infectious optimism, coupled with a sharp awareness of her surroundings. This dynamic serves to enhance the tension as the plot unfolds.
Though Heretic has been labeled the “Mormon missionary horror movie,” it straddles a fine line, leaning more towards the realm of thriller than conventional horror. The film creates an environment of suspense and unsettling moments, challenging viewers’ perceptions rather than relying solely on jump scares. Beck and Woods craft a compelling narrative that sees religion as an individual choice, with the true antagonist being the preconceived notions of compulsion often associated with faith. By centering the story on two young women, they push back against Mr. Reed’s dogmatic narrative, enriching the discussions of belief and choice present throughout.
Heading into the AFI Fest premiere, influenced by the title Heretic (a term rarely utilized in Mormon dialogue) and the trailer portraying Mormons in a less-than-flattering light, I was prepared for a portrayal that might misrepresent my faith. Instead, I found myself drawn into an engaging and thoughtful cinematic experience that mirrored fragments of my own journey, leaving me with a sense of appreciation for the film’s authentic take on the complexities of faith.
Grade: A–
A24 will unveil Heretic exclusively in theaters on November 8.
