Heretic: The Unexpected Horror of Hugh Grant and Blueberry Pie

What could possibly be so terrifying about Hugh Grant and a blueberry pie? In Heretic, an unsettling A24 thriller, audiences quickly find out that these seemingly harmless elements become conduits for a deeper psychological horror—and it’s more riveting than you’d think. Under director Scott Beck’s sharp vision, Heretic doesn’t settle for straightforward jump scares or predictable horror conventions. Instead, it combines unnerving philosophical debates, subtle comedic beats, and a claustrophobic set to create an experience that’s both chilling and thought-provoking.

Why is Hugh Grant So Scary?

To anyone familiar with Hugh Grant’s career, his role in Heretic is a significant departure from his early days as a rom-com heartthrob. Gone is the bumbling charm of Notting Hill or the breezy allure of Four Weddings and a Funeral. In recent years, Grant has made a habit of reinventing himself, gravitating towards quirky, darker roles that stretch his range and, frankly, his appeal. His role as Mr. Reed in Heretic is no exception. Reed is a cerebral antagonist—a former philosophy professor who has retreated to a crumbling mansion in Utah, only to take delight in challenging and mentally tormenting two young women who come to his door as missionaries.

One of the most intriguing scenes—and a testament to Grant’s unsettling portrayal—is Reed’s monologue on religion, using music sampling as a metaphor. He puts on a vinyl record (a touch that spoke to my own love of vinyl), explaining how music is sampled and reworked, layered with new meaning, much like the reinterpretations of religious texts over time. Reed’s tone shifts from engaging to sinister, his voice dropping as he compares the “sampling” in music to what he sees as the distortion of truth in religious doctrine. His quiet fervor as he paces the room, needle hovering over the vinyl, is captivating, drawing us into his warped worldview. The director plays with camera angles to make Reed appear larger, almost predatory, as if he’s closing in on the sisters with every word.

Our Protagonists

The film kicks off innocuously enough. Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are two earnest missionaries from the Church of Jesus Christ of Latter-day Saints. Thatcher’s Sister Barnes is serious and devout, while East’s Sister Paxton brings an innocent, almost naive energy to their mission work. Together, they create an oddly captivating duo. Their mission takes an unexpected turn when they knock on Mr. Reed’s door one evening, looking to share their beliefs. It quickly becomes clear that Reed is less interested in polite conversation and far more intent on dismantling their faith, using his incisive arguments and twisted intellectualism to pick apart their views on God, purpose, and morality. Grant’s performance here is nothing short of mesmerizing, his calm and steady manner slowly giving way to something darker and more insidious. In other words, he’s scary y’all.

East and Thatcher’s chemistry deserves praise. Chloe East’s Paxton is the film’s source of subtle, offbeat comedy—a bit awkward and brimming with unfiltered questions, she brings a fresh energy to the film that balances out the gravity of the subject matter. Her innocence, however, is more than just comedic relief; it makes her interactions with Reed feel increasingly dangerous, as though she’s venturing into territory she’s not equipped to handle. Sophie Thatcher, in contrast, plays Sister Barnes as someone with a sense of purpose, rooted in a complex backstory about her conversion to the church. Together, they create a palpable tension that feels genuine and relatable, even as the horror elements begin to creep in.

Set Design Kudos

Speaking of horror, Heretic is a masterclass in atmosphere. The set design of Mr. Reed’s house is rich with vintage details, from the muted wallpaper to the creaking floorboards and dim, inconsistent lighting. It’s as if the house itself is complicit in Reed’s unsettling game, trapping the sisters within its walls. The film’s tonal shift is marked by one particularly eerie moment involving the titular blueberry pie. Reed offers the sisters a slice, only for them to discover that the pie they thought was freshly baked is actually a scented candle. This bizarre twist in such a mundane gesture is both darkly humorous and jarringly creepy.

Throughout the film, the camera works to heighten this feeling of claustrophobia. Tight close-ups on Reed’s face, paired with subtle, jarring shifts in lighting, transform his benign expressions into something much more sinister. The score, too, deserves mention—it starts off light and melodic but grows darker, with discordant notes mirroring Reed’s spiraling intensity. At one point, you can almost feel the walls closing in as the sisters realize that Reed is not just a curious skeptic but something far more dangerous.

Final Thoughts

My screening experience at The Alamo added an extra layer of immersion, as the smell of blueberry pie filled the theater during that infamous scene. Audience members were even served slices of pie, which added a sensory depth to the scene but also induced a slight unease; with the screen reflecting the characters, it was hard not to think, “Is this really a good idea?”So, if you’re looking for a horror film that does more than just scare you—one that leaves you questioning, shivering, and perhaps even craving some blueberry pie (but maybe not the scented candle variety)—Heretic is worth your time. With stellar performances, smart writing, and a chilling atmosphere, I’d give it a solid 8/10. Watch it in theaters this Friday, November 8th.