The Remarkable Second Act of Hugh Grant’s Career in ‘Heretic’
Ah, Hugh Grant! The charismatic heartthrob with an ever-present glint in his eye, who once chased after the likes of Julia Roberts and now finds himself chasing something far more sinister — pure horror! It’s like watching your uncle, who has always worn tweed, suddenly show up at Christmas wearing leather and looking like he’s just auditioned for a role in ‘The Walking Dead.’
With his remarkable second act (or perhaps third if we’re counting that pause where he dabbled in real estate and contemporary art like a pretentious Riddler), Grant’s latest venture sees him embrace the terrifying world of horror. And let’s be honest, when you think of Hugh Grant, horror might not exactly be the first genre that springs to mind — unless you recall his earlier work in ‘The Lair of the White Worm’, which frankly sounds like a questionable takeaway option after a night out. However, ‘Heretic’, written and directed by Scott Beck and Bryan Woods, might just be the deliciously twisted dessert after that charming romantic comedy binge!
In this dark escapade, Grant portrays Mr. Reed, a bespectacled Brit who, judging by his eccentric bachelor pad, may have taken a wrong turn somewhere off the High Street of Human Decency. He’s an amusing cocktail of charm, manipulation, and just the right hint of madness – a bit like your mate after a few too many at the pub. The plot thickens when two young female missionaries—innocent Sister Paxton (Chloe East) and worldly Sister Barnes (Sophie Thatcher)—arrive at his door. Armed with blueberry pie and an enthusiasm for faith, they unknowingly step straight into a web of bizarre and disturbing intentions.
Now, you’ve got to admire Mr. Reed who, despite his questionable hospitality skills (who offers pie without a pinch of sinister intent, after all?), quickly becomes the affable host with an agenda. He’s the sort of chap who might offer you cake, only to reveal it’s made of after-dinner mints infused with a hidden dark side. “What’s that? You need another woman present to talk to me? Of course! Let me just fetch my ‘wife’… or should I say an elaborate diversion?” One can only imagine the polite smiles masking the growing dread of these two unsuspecting missionaries.
As the conversation unfolds, it’s clear that this is more than just a casual chat about mutual beliefs. Oh no! Mr. Reed develops a fixation with religion, and his friendliness begins to oscillate as quickly as a pendulum swinging between charm and sheer mania. As conversations turn, the script veers into darkly comic territory, reminiscent of the absurd environments crafted by the great George Bernard Shaw—if he decided to swap witticisms for witchcraft.
Expect hilarious moments intertwined with dark, unsettling themes — perfect for those who like their humor served with a side order of existential dread. The film dives into religion and humanity’s bizarre belief systems, probing whether these young women still believe the elusive ‘wife’ genuinely inhabits this house. The question hangs in the air like the ghost of a bad date—unanswered, strange, and infinitely more intriguing.
In the end, ‘Heretic’ promises to be a gruesome, bizarre yet absurdly entertaining affair. Imagine if you will, Grant’s dapper performance of wickedness laced with comedy that blurs the lines between humor and horror. You just have to admire the audacity with which Hugh Grant has approached this new role, like diving into a cold pool after sunbathing in a hammock for too long — shocking, bracing, and absolutely vital.
‘Heretic’ hits UK and Irish cinemas on November 1, followed by its debacle in Australian cinemas on November 8. So mark your calendars, grab your popcorn, and prepare to see Mr. Grant like you’ve never seen him before — and let’s hope this time, his smile isn’t the last thing we’ll see!
The remarkable second act of Hugh Grant’s career continues…or perhaps the third act, if we include the earlier period in which he seemed to be retreating from the romantic comedy front to concentrate on brilliant investments in real estate and contemporary art, before returning as a lethally scandalous actor and scene-stealer. Now, Grant makes his horror debut (if you don’t include his appearance in Ken Russell’s 1988 The Lair of the White Worm) and does so with typical recklessness and audacity, starring in a play verbose and disturbing bedroom film about religion from writer-directors Scott Beck and Bryan Woods; it’s as if George Bernard Shaw wanted to make a horror film without songs inspired by the Book of Mormon.
The maturity and chill type added a certain something to Grant’s usual mannerisms, visible as always here: the sudden mischievous smile and the “eek!” » wide-eyed conspirator. grimace of false dismay. He plays a bespectacled Briton called Mr. Reed, living in the United States in an isolated house of eccentric proportions. Like Phoenix Buchanan, Grant’s aging actor in Paddington 2, this man is vain enough to keep a photo of his younger self around the premises. Mr. Reed expressed a tentative interest in The Church of Jesus Christ of Latter-day Saints, so the Mormons sent two missionaries to discuss it with him; not young men attached as would normally be the case in real life outside of horror films, but two women in their twenties. They are the innocent Sister Paxton (Chloe East) and the slightly more worldly Sister Barnes (Sophie Thatcher), who, in the first scene, reacts with nonjudgmental sisterly amusement when Paxton recounts her shock at watching accidentally watching a porn film and expressing his sincere belief that the female protagonist’s unfeigned expression of despair proves the necessity of living a pious life.
Mr. Reed is a model of avuncular kindness and quizzical hospitality when these two appear at his door; he invites them in, the door closes firmly behind them, and offers them blueberry pie. When Paxton and Thatcher politely inform Mr. Reed that they cannot be alone with him without another woman present, he suavely offers to bring his wife from the kitchen. Paxton and Barnes eagerly acquiesce, but there seems to be a strange and disturbing delay in this bride’s actual appearance.
As for Mr. Reed, he seems strangely insistent in discussing different forms of religion with them, his friendliness ominously beginning to wane as the steely glint behind his glasses increases. With various amusing material from popular culture, Mr. Reed talks about belief systems as iterations or thematic variations on earlier pagan or mythical forms and becomes irritable and tongue-tied when Barnes contradicts him. With hooded eyes, he asks these impeccably mannered young women if they still believe that his wife really exists in another room, as he assured them, and what exactly makes them believe that? A need to survive, perhaps, in this world as in the next? Heretic is gruesome, bizarre and absurd, the third aspect made palatable by Grant’s dapper performance of evil.
Heretic is in UK and Irish cinemas from 1 November and in Australian cinemas from 8 November
**Interview with Hugh Grant about His Role in ‘Heretic’**
**Editor:** Today, we have the pleasure of speaking with Hugh Grant, the beloved British actor whose latest venture into the horror genre has everyone buzzing. Hugh, thank you for joining us!
**Hugh Grant:** My pleasure! Happy to be here.
**Editor:** You’ve made quite the leap from romantic comedies to horror with ‘Heretic.’ What sparked your interest in this genre, especially given your iconic status in romantic leads?
**Hugh Grant:** (laughs) It’s quite the departure, isn’t it? I suppose it all began with a desire to challenge myself. I was feeling a bit like a cat with nine lives, and I thought, why not embrace something completely unexpected? ‘Heretic’ provided the perfect blend of dark comedy and horror, which intrigued me.
**Editor:** In this film, you portray Mr. Reed, a character that seems to walk a bizarre line between charm and menace. How did you embody such a complex character?
**Hugh Grant:** Mr. Reed is quite the enigma! He’s charming, yes, but there’s an underlying madness to him. I tried to tap into that duality—using my typical wit but layering in a sense of foreboding. It reminded me of some of the great comedic works of George Bernard Shaw, where humor is laced with darkness.
**Editor:** The plot revolves around two young female missionaries visiting your character. How did you approach the dynamics of this encounter?
**Hugh Grant:** The innocence of the missionaries juxtaposed with Reed’s hidden agenda provides a rich playing field. I aimed for moments of genuine hospitality masked by underlying tension. It’s like inviting someone over for tea and then revealing you’ve got an unsettling surprise in the cupboard!
**Editor:** The film appears to tackle themes surrounding religion and belief systems. What message do you hope audiences take away from ‘Heretic’?
**Hugh Grant:** That’s the beauty of the film! It challenges our perceptions of faith and humanity. It asks important questions about belief—what we cling to and how easy it is to get lost in our own convictions. Plus, it serves as a cautionary tale wrapped in absurd humor, which keeps it engaging.
**Editor:** Critics are already buzzing about how ‘Heretic’ showcases a more mature side of you. What does this shift in your career mean to you?
**Hugh Grant:** It means I’m still evolving! I’ve had the privilege to play many different roles, and this one allows me to explore the darker recesses of character in a way I’ve never done before. It’s a thrilling ride, and it feels vital for my career at this stage.
**Editor:** what can fans expect from your performance in ‘Heretic’?
**Hugh Grant:** Expect the unexpected! I might be charming, but there’s an unsettling edge to Mr. Reed that I think will keep audiences on their toes. It’s a mix of grotesque humor and an examination of the human psyche that I hope will stick with people long after they watch.
**Editor:** Thank you so much, Hugh! We can’t wait to see you bring Mr. Reed to life in ‘Heretic.’
**Hugh Grant:** Thank you! Always a pleasure to chat.
