Tag Archives: Sophie Thatcher

Heretic-2024

Heretic-2024

Director Scott Beck, Bryan Woods

Starring Hugh Grant, Sophie Thatcher, Chloe East

Scott’s Review #1,470

Reviewed March 13, 2025

Grade: B+

Heretic (2024) is a terrifying and thoroughly compelling horror film co-directed and written by Scott Beck and Bryan Woods. The pair most notably wrote the story for and co-wrote A Quiet Place (2018).

The premise of Heretic is rich in scariness, and the screenplay questions and challenges religion and the expected thought process of organized religion, targeting Mormons. It’s a thinking man’s horror film and hardly superfluous, like many genre films over the years.

I was pleasantly surprised at how much meaning the film had in addition to fantastic, traditional horror elements.

Two young missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are forced to prove their faith when they knock on the wrong door and are greeted by an initially kindly but ultimately diabolical Mr. Reed (Hugh Grant).

They become ensnared in his deadly game of cat-and-mouse.

Things get off to a perilous start when the pair embark on their bicycles for their next stop in a small town in the United States. They are mocked by a group of teenage girls while an impending snowstorm hovers in the sky.

What could go wrong when Mr. Reed offers the girls a warm living room and a wonderfully smelling blueberry pie his wife is baking in an unseen kitchen?

We, the audience, of course know that things will turn grim. It’s a question of when.

At first, Mr. Reed seems nice enough. Engaging the missionaries in innocent questions like their favorite fast food restaurants and stories of rock and roll makes the inquiries deeper and deeper, questioning their religious beliefs.

The most intriguing part of this process is that he makes good points. He educates the girls about the incarnation of the board game Monopoly and that religions are just recreations of other religions kept up to date.

Isn’t it all bullshit?

When he challenges them to choose between two luminous cellar doors things go batshit crazy.

I continue to be impressed when I see the ‘A24’ logo cross the screen. The independent production company specializes in high-caliber horror films with merit, and Heretic is no exception.

The winning formula is that the tension builds slowly and carefully. As the girls go deeper and deeper into the vast house, they have less chance to escape.

When Mr. Reed claims the locked front door cannot be unlocked until morning, the girls and the audience feel dread.

Once the poster boy for cute romantic comedies playing the hero, Hugh Grant has reached an age where he is willing to go full-throttle into character actor roles. His quick British charm and wit make Mr. Reed even more terrifying.

Playing against type, his cheery yet chilly demeanor is scarier than going for full-on crazy. His running tangents about theology scare, confuse, and challenge the girls.

Grant’s charm, gleaming blue eyes, and kind smile make him a creepy villain. He exudes trust, and we want to trust him, so seeing him play maniacal is a delight.

Thatcher and East are well cast as the Sisters, though I’m more partial to Thatcher’s character as she is the more non-believing and has more charisma than East. She’s also the stronger character more willing to stand up to Reed.

Like many horror films, the elements make the movie what it is. The first-hour setup is simply brilliant. The storm, the warm blueberry pie, and the intricately structured mouse maze-like house with creaks, dark stairways, and cellars all come into play.

Religious horror is creepy, and an attempted resurrection propels the story.

Like many horror films, the conclusion isn’t as good as the buildup. The logic involved in the more minor character’s motivations isn’t mainly explained or believable.

Beck and Woods, supported by A24, create a simple yet eccentric tale set in essentially one lonely house on one lonely night. They prove that a lavish budget or bells and whistles can’t replace a gripping, well-written story with intelligent dialogue.

Independent Spirit Award Nominations: Best Screenplay

MaXXXine-2024

MaXXXine-2024

Director Ti West

Starring Mia Goth

Scott’s Review 1,463

Reviewed February 4, 2025

Grade: B+

MaXXXine (2024) is a slasher horror film lover’s dream. With its 1980s-style filming, peroxide hairdos, and video cassette recorders (remember them?), it’s a sheer delight for genre fans.

Adding tight-washed blue jeans, a 1985 musical soundtrack, and the sunny setting of Los Angeles, California, you’ve got a throwback 80’s film in the best ways.

It is the third installment in Ti West’s X film series and a direct sequel to X (2022). The first chapter was called Pearl (2022). Although seeing the others before seeing MaXXXine is unnecessary, it is also fun.

West writes, produces, directs, and edits the vehicle, so the project is his creation. His muse, Mia Goth, who has starred in all three films, makes a return appearance and is co-producing.

Rumor has it there may be a fourth.

In the film, Maxine sets out for fame and success in 1980s Hollywood and is targeted by a mysterious killer, who is assumed to be the aptly nicknamed real-life Night Stalker.

But is this a red herring? Maxine’s friends are systematically eliminated, leaving the poor girl and the detectives to wonder if she could be the next target.

Could it be someone from her past? Or is someone jealous of her impending film success?

The film gets off to an intriguing start when a videotape shows a young Maxine dancing for her father, who appears to be coaching her and determinedly telling her never to settle.

Adult Maxine brilliantly auditions for a new horror film called Puritan II despite her only credits being in adult films. She shows she has raw talent and emotion and is unafraid to prance around topless.

She speeds away in her sports car with vanity plates reading ‘MaXXXine’.

We quickly learn that Maxine is not to be messed with. When she is accosted at knifepoint, she channels her inner Aileen Wuornos and pulls a gun on her attacker, makes him strip, puts the gun in his mouth, and forces him to perform fellatio on it before stomping on and crushing his testicles with her boot.

She snickers and walks away.

West wants MaXXXine to be entertaining, and he largely succeeds. It’s a fun film not to be taken seriously, but the female-empowering message impressed me.

The Puritan II’s director, wonderfully played by Elizabeth Debicki (The Crown’s Princess Diana), warns Maxine of the sharks and predators in La La Land, and an early quote by legendary actress Bette Davis states, ‘You’re not a star until you’re viewed as a monster.’

In MaXXXine, one is allowed to be a badass bitch and take no prisoners.

The final act is uneven, with a hokey explanation for the killer’s motivations for wanting Maxine dead amid the palatial Hollywood hills. The showdown is a generic extravaganza where the killer’s circle of henchmen is taken down conveniently to let him and Maxine square off.

Earlier, there are real-life clips of Christian wackos accusing heavy metal artists of devil worship and protesters foolishly carrying around signs objecting to the Puritan II, which is a significant clue to the whodunit.

Bobby Cannavale and Michelle Monaghan play detectives who lack great dialogue and are the film’s comic relief, and Kevin Bacon goes over the top as a private investigator.

However, a delightful cameo by Lily Collins (TV’s Emily in Paris) is a big win.

I suppose one could approach MaXXXine (2024) as dissecting the artificiality of Hollywood or the overindulgence of the 1980s excess (cocaine use is prevalent in the film). Still, I took the film as celebrating 1980s horror magnificently.

And I was a happy participant.