Anyone who has ever attended Fantastic Fest knows one of the big draws is the secret screenings. This year, the third secret screening was one of the most anticipated horror films of the year, Heretic. The latest A24 film was written and directed by filmmaking duo Scott Beck (Haunt, A Quiet Place) and Bryan Woods (Haunt, A Quiet Place). In the film, audiences are introduced to two young Mormon missionaries going door-to-door to speak with people who have expressed interest in the church. At their last stop of the day the pair meet a strange man who traps them in a twisted game of cat and mouse.

Because A Quiet Place is arguably the most well-known Beck and Woods film, which they wrote with virtually no dialogue and plenty of big action, their latest film feels quite the opposite. Heretic is far more understated, relying on dialogue to build the tension. Luckily, Beck and Woods masterfully create a film dripping with suspense that keeps audiences at the edge of their seat without the need for action or big scares. The film is formatted similar to a three act play, taking place almost entirely within the strange man’s home. While some audiences might find this method of storytelling to be a bit too slow and contemplative, others are sure to be entranced by the ensuing horror. This format and location allows for the tension to come from the dialogue and the increasingly dire situation the two missionaries find themselves in. Every time you think you know what will happen next, the plot takes another surprising turn. It’s the kind of film that plays into social anxieties. These two young women are trying so hard to prove themselves in the church by spreading the word of god and getting people to convert to their church. Between that pressure put on the shoulders of someone so young, and the expectations that young women must always be polite and accommodating, these girls were lambs to the slaughter. The audience will want to yell at the screen as the red flags keep mounting, yet others will understand the oppressive feeling of having to mind your manners, even in the face of danger.

As one might be able to guess, Heretic is very much about religion. Not just religion, but the role it plays in society and the numerous practices across the globe. Beck and Woods create a delicate balance here, not necessarily taking any sides on the matter. There are plenty of facts and comparisons presented, mostly about the similarities between religions throughout history, in order to try to answer the question, “What is the one true religion?” At the same time, the filmmakers leave room for the idea of miracles and acts of god. This quest for answers leads to a sinister, deranged journey with a truly shocking finale. Some more religious audiences might still find the content blasphemous, but it’s apparent Beck and Woods wanted to challenge both sides while still remaining neutral.

Heretic has three absolutely wonderful performances. Hugh Grant (Lair of the White Worm, About a Boy) stars as Mr. Reed. Grant was a brilliant casting choice for this role. He has this outwardly goofy, kindhearted persona that hides the truth within. As Mr. Reed slowly begins to let his mask fall away, audiences see the evil, sadistic man he truly is. Not only is it one of Grant’s best performances to date, it makes one hope to see him in many more horror films to come. Chloe East (The Fablemans, The Wolf of Snow Hollow) plays Sister Paxton. The most innocent and pious of the two young women, Sister Paxton embodies the stereotype of what people might picture if they think of a Mormon missionary. East delivers an incredible performance, especially when Sister Paxton’s optimism and hope finally fade away. Sophia Thatcher (The Boogeyman, Yellowjackets) stars as Sister Barnes. While better at converting people than her companion, Sister Barnes is newer to Mormonism and seems not as steadfast in her belief. Thatcher is Sister Paxton’s protector, as well as the “middle man” of the trio, understanding the religious arguments thrown at her by Mr. Reed, while also able to refute it with her own research. Each performance is stunning, especially as things go from bad to worse, with both East and Thatcher holding their own alongside Grant.

With such an understated story being told, the set and sound design of Heretic plays an important role. The house itself is almost another character. Rather unassuming from the outside, the inside of the house gets progressively more bone chilling the deeper inside the characters venture. It’s all one giant trap to capture the missionaries and force them to journey through a maze of madness, like mice in a twisted experiment. There is even a miniature model of the house used by Mr. Reed that hints at his experimentation and allows for some stunning transition shots. The sound design also lends to the terror. Part of this comes in the form of a song Mr. Reed pays repeatedly throughout the film, and part of it comes from lending sounds to the house itself that make it feel even more like a giant trap. Heretic also features excellent costume design and makeup effects, adding to the characters as well as the scares.

Heretic thrusts taboo theological questions into the spotlight as the protagonists attempt to escape a trap in this taut, menacing thriller. Beck and Woods know how to make an entertaining horror film, but with this entry they show just how skilled they are at crafting an intricate, layered plot that relies more on dialogue than big scares. It might be the best of their filmography, so far, and is sure to make audiences look forward to what they do next. The performances from Grant, East, and Thatcher are out of this world, adding depth and tension to the film. With the performances, plot, sights, and sounds, this is a film that will stick with audiences and lead to many interesting conversations. Be sure to see Heretic on the biggest screen possible when it hit theaters on November 8th.

OVERALL RATING: 8.5/10