Founded in 2012, production and distribution company A24 has become synonymous with quality. Generally, if a film or TV show bares the A24 logo, it is worth watching, and probably made by an auteur. The likes of Jonathan Glazer, Denis Villeneuve and Sofia Coppola have partnered with the company, to brilliant results. A24 is also now associated with- what some refer to as- "elevated horror," which, despite the pretentious title, basically refers to a horror movie that's actually good.
From Robert Eggers' 'The Witch' and 'The Lighthouse,' to Ari Aster's 'Midsommar' and Alex Garland's 'Men', A24 has consistently delivered original horror films that don't just scare, but explore deeper themes, evoking a sense of dread that lingers long after the credits roll. Their latest horror offering, 'Heretic,' follows two Mormon missionaries, Sisters Barnes and Paxton, who find themselves in mortal danger after visiting the home of Mr. Reed, a reclusive Englishman. Does it live up to the A24 standard?
For the most part, it does. Written and directed by Scott Beck and Bryan Woods, 'Heretic' is a suspenseful exploration of faith, fear and the unknown. An unsettling, sinister atmosphere is fostered for the first two acts, and one is unsure in what direction proceedings are heading. It's also got a little bit of dark-humour, mainly in the demeanour and dialogue of the Reed character; whose good nature and charm mask a hidden darkness.
Moreover, Reed's monologues about religion raise genuinely interesting points, exploring the conflicts between faith and doubt, and the struggle to reconcile belief with the harsh realities of the world. His comparisons between religion, boardgames and popular music are especially provocative, challenging the protagonists- as well as the audience- to reflect on their own beliefs and the societal structures surrounding them.
The narrative engages throughout, though loses steam in the third act, where things boil down to a predictable riff on classic horror tropes. While the initial buildup is masterful, the resolution feels somewhat rushed and less impactful compared to the film's earlier intricacies. This slight dip in momentum, however, doesn't overshadow the film's overall success.
Visually, 'Heretic' is stunning. Chung-hoon Chung's haunting cinematography ably captures the eerie isolation of Reed's home, creating an atmosphere that is both beautiful and eerie. Chung's use of extreme-close-ups heightens the film's ominous atmosphere, as does his utilisation of light and shadow. Furthermore, Philip Messina's intricate production design is arresting; the contrasting interiors of Reed's home being highly impressive artistically, while also speaking to the development of Reed as a character.
Initially, Reed's house appears quaint and unremarkable, much like the man himself. As the plot progresses and the Sisters venture further into his home, it undergoes a metamorphosis, becoming grander and more imposing, before sinking into base seediness. This transformation not only serves to heighten the tension but also symbolizes the unveiling of Reed's true nature; a canny piece of visual storytelling.
In addition, Chris Bacon's original score enhances the film's ominous tone, keeping viewers on edge, while he makes clever use of music from the likes of The Hollies and Radiohead, with the latter's 'Creep' being used to particularly strong effect. It is also a well-edited picture, rocketing along at a brisk pace (and feeling a lot shorter than an hour and fifty minutes).
Hugh Grant stars as Reed, and has arguably never been better. The character is a far cry from the charismatic rom-com heroes he's best known for, and he seems to really enjoy playing such a creep. Although over the last few years he has played quite a few villains- from a cannibal in 'Cloud Atlas' to a billionaire arms dealer in 'Operation Fortune: Ruse de Guerre'- few have been as calculating and as cruel as Reed. With a mischievous, menacing twinkle in his eye, Grant steals every scene.
Chloe East and Sophie Thatcher star opposite him as Sisters Paxton and Barnes, respectfully. East, as the uncertain, sheepish Paxton, is terrific, believably portraying her evolution over the course of the film. Thatcher is similarly good as the more assertive, self-assured Barnes, and the two share a believable chemistry.
In conclusion, despite the narrative losing steam in the third act, Scott Beck and Bryan Woods' 'Heretic' is another fine film flying under the A24 banner. Combining terror with thought-provoking themes, it stands as a memorable addition to the pantheon of so-called "elevated horror". Visually and auditorily striking, and with a marvellously macabre Hugh Grant at its centre, 'Heretic' is something of a revelation.
