Psychological horror and Hugh Grant. Now that’s a combination I couldn’t possibly turn down. It also happens to be the recipe for one of the year’s most intriguing movies. In “Heretic” Grant plays a suave and mannered Englishman who lures two young Mormon missionaries into a harrowing game of cat-and-mouse. It’s a juicy role custom-made for this second phase of Grant’s exceptional acting career.

“Heretic” comes from the writer-director duo of Scott Beck and Bryan Woods whose last film was 2023’s underrated science-fiction thriller “65”. “Heretic” is a much different movie. It’s a frightening examination of belief or (depending on your perspective) unbelief. We’ve seen countless horror movies centered around religious fanatics who wield their “faith” in all sorts of dark nefarious ways. Beck and Woods flip the script leading to something strikingly fresh yet equally chilling.

“Heretic” opens by introducing us to two twentysomething missionaries from the Church of Jesus Christ of Latter-day Saints. There’s the devout Sister Paxton (Chloe East) and the slightly more worldly Sister Barnes (Sophie Thatcher). The pair venture to a house on the outskirts of town in response to a request for more information about the church. As a storm begins brewing the two girls rap on the front door and soon greeted by Mr. Reed (Grant), a cheerful Brit with a skeptical interest in religion.

Mr. Reed invites the girl to come in out of the weather to which they politely decline, telling him they’re not allowed to come inside unless another woman is present. He informs them his wife is in the kitchen tending to a freshly baked pie which is enough to convince them. Obviously it’s a bad idea – we know it immediately. But Grant’s infectious natural charm is such that even we can feel the tug of persuasion with each playful smile and kindly word.

As the three have a seat in the living room, the girls begin their well-rehearsed presentation. But Mr. Reed cordially interrupts with a variety of questions of his own, some about church history and Mormon doctrine, others about things as simple yet intentional as favorite fast food restaurants. It’s a fascinating exchange that slowly begins to reveal Mr. Reed’s (and the movie’s) more sinister intentions.

I wouldn’t dare reveal much more. As mentioned above, their genial conversation turns into a psychological game of cat-and-mouse before eventually giving way to an even darker and nastier third act. Sister Paxton and Sister Barnes are forced to navigate the thorny ground of belief versus disbelief if they are to make it out of Mr. Reed’s labyrinthine house alive.

While the final 20 minutes or so takes a slightly more traditional horror movie form, “Heretic” never loses its welcomed originality or simmering sense of dread. The smart and crafty script is one of the year’s best, tackling the themes of faith and skepticism while also diving into the subject of extreme obsession.

While “Heretic” is well-written and well-directed, it’s the performances that may be its ace in the hole. Grant is the standout, juggling effortless charm with unnerving sadism to deliver some of the year’s best work. He’s also devilishly funny, even hitting us with a Jar Jar Binks impression none of us knew we wanted. But East and Thatcher hold their own, heightening the stakes by effectively conveying both innocence and dread. All three are terrific and are crucial threads in the terrifying web Beck and Woods have spun.

VERDICT – 4 STARS