A diabolical man ensnares two young missionaries in his terrifying game, forcing them to prove their faith when they knock on his door. A film by Scott Beck & Bryan Woods, starring Hugh Grant, Sophie Thatcher, Chloe East, and Topher Grace.

In the evening, as rain falls ahead of an impending snowstorm, two young missionaries from the Church of Jesus Christ of Latter-day Saints — Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) — visit Mr. Reed’s home, the last address on their list from Sister Hall.

They are both delighted when Reed (Hugh Grant) expresses his interest in the LDS Church. While Sister Paxton explains their booklet, the rain intensifies, and Reed invites them inside. Adhering to their strict missionary guidelines, Sister Barnes carefully asks Reed if he has a female roommate — they are not permitted to enter a home without another woman present. When Reed mentions that his wife is inside baking a pie, the missionaries feel relieved and accept his invitation to enter.

Female missionaries of the Church of Jesus Christ of Latter-day Saints (LDS Church) adhere to specific rules regarding their interactions with individuals in private settings, particularly when visiting homes. Female missionaries must always be accompanied by another female missionary (their companion) when visiting homes. This rule is designed to ensure safety and accountability. When entering a home, it is generally required that another adult of the same gender as the missionaries is present. Female missionaries are prohibited from being alone with males in any context that could be perceived as inappropriate. If any situation arises that might cause a missionary to violate these standards, it should be reported to their mission president immediately.

Inside, Reed offers to take their wet coats and casually mentions that the walls and ceilings contain metal, hoping they don’t mind. He then walks into an inner room with their coats, saying that he will check on the snacks. While Reed is away, Barnes and Paxton take a look around the living room, which features items suggesting that a woman lives there, including a cross-stitch, a basket with a ball of yarn, and a photo frame showing a woman lying on a sofa with a dog.

Reed returns with a tray holding two glasses of cola, a mug of tea, and a lit candle. He offers the missionaries cola before they begin discussing religious topics. Reed appears to be remarkably knowledgeable, having studied various religions, including the Book of Mormon.

The Book of Mormon is a sacred text of the Church of Jesus Christ of Latter-day Saints (LDS Church), regarded as scripture alongside the Bible. The Book of Mormon was first published in 1830 by Joseph Smith, who translated it from golden plates he claimed to have discovered in upstate New York. It is believed to be an abridgment of ancient records written by prophets in the Americas, primarily by a prophet named Mormon.

Reed then compares religions to fast food franchises and raises a question about how we can prove any of it is true if God’s revelation is filtered through flawed human beings. He reveals that he studied theology in hopes of finding the one true religion, only to discover that every sect, cult, creed, and denomination claims to be the one true doctrine. Yet none seem valid when examined closely.

As the atmosphere grows awkward and uncomfortable, Barnes politely asks if they could meet his wife, since her presence is required. When Reed leaves the room, Barnes grabs the candle cup and slowly turns it around. She becomes startled when she sees the label that reads “home aromatics BLUEBERRY PIE Scented Candle,” realizing that Reed was lying about his wife baking a pie.

When Reed returns and invites them to meet his wife, who is in the inner room, Barnes makes a witty excuse, telling Reed that she is just receiving a call from the Relief Society president and will follow him momentarily. As they attempt to leave, they realize that the key to their bicycle lock is in Barnes’s coat pocket. Ultimately, they decide they would rather take their chances walking four miles through a snowstorm without their coats than go back inside. However, when they try to open the front door, they discover that it is stuck and won’t budge. Paxton attempts to make a call, but it doesn’t go through. They have no choice but to ask Reed for help.

Written and directed by the American filmmaking duo Scott Beck and Bryan Woods, HERETIC is a mesmerizing psychological thriller that explores religious belief through thought-provoking dialogue exchanged between three main characters: a reclusive man and two young Mormon missionaries.

Surprisingly, the narrative is so clever and never feels boring for a single moment. The film is filled with unexpected twists, each turn taking us down a darker path.

Hugh Grant delivers a stellar performance as a wickedly compelling character, so captivating that I couldn’t take my eyes off him while trying to anticipate his next move and his grand scheme.

Sophie Thatcher and Chloe East give believable performances as the two Mormon missionaries who unfortunately become the victims in this scenario. I also couldn’t help but root for their survival.

The filmmakers excel at portraying authentically human reactions when characters encounter threatening situations, responding with a sense of genuine vulnerability and fear.

HERETIC is undoubtedly one of this year’s best thriller films.

HERETIC premiered at TIFF (Toronto International Film Festival) on 8 September 2024. The film was theatrically released in the United States on 8 November, by A24.

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The use of irony and Grant’s ability to subvert expectations are in full display in “HERETIC,” the thoughtful horror hit from writer-directors Scott Beck and Bryan Woods. In the film, Grant plays Mr. Reed, a man who welcomes two Mormon missionaries into his home only to subject them to a series of tests about faith. The film — and Grant’s sly, subversive performance — have earned rave reviews, and the actor has already been recognized with nominations from the Critics Choice and Golden Globe Awards. And if there’s any justice for genre films — which there often isn’t — it’s just the start of a long list of accolades.

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