‘Heretic’ review: A deliciously devilish Hugh Grant takes on resourceful LDS missionaries in his hell house
The fear is dialogue-driven in this psychological thriller, with the Latter-day Saint faith providing a strong backbone.
In a sharp and shifting game of wits, Heretic—like the Greek word it stems from meaning “able to make a choice”—challenges people to make a choice, to choose what we would stand for in the face of escalating and distressing pressures to question everything one might believe.
When two Mormon missionaries, Sister Barnes and Sister Paxton, knock on the door of a secluded house in response to a request for more information about the Church of Jesus Christ of Latter-day Saints, Mr. Reed is ready for them. They enter his house to talk after receiving his disarming assurance that his wife is present, baking blueberry pie. Their conversation quickly reveals that Mr. Reed knows a good deal more about their church than they do and that he has very probing criticisms about faith in general. All of which he delivers with demure, amiable civility.
But there is an ominous glint in his eyes. There is something unsettling in his questions that keep turning on the girls with personal incision. And there is something peculiar about his house, with lights that turn on and off automatically, doors that lock on a timer that cannot be opened for hours, and walls and ceiling that block cellphone signals. Mr. Reed presents all these things apologetically and in-passing, and the girls simply accept it. . ."
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