13/37
People like Jonathan Glazer, Denis Villeneuve, and Sofia Coppola have all partnered with the company with brilliant results
Narrative
Two young nuns find themselves caught up in a cat-and-mouse game in a strange man’s home. Sophie Thatcher and Chloe East in Heretic, plus more modern women who put an end to the game of terror. The end credits include the following statement: “No generative Al was used in the making of this film.” Founded in 2012, the production and distribution company A24 has become synonymous with quality. Generally, if a movie or TV show has the A24 logo on it, it’s worth watching and is probably made by an auteur. A24 is now also associated with what some call “elevated horror,” which, despite the pretentious title, basically refers to a really good horror movie by Robert Eggers.
Reed, a reclusive Englishman
From ‘The Witch’ and ‘The Lighthouse’ to Ari Aster’s ‘Midsommar’ and Alex Garland’s ‘Men,’ A24 has consistently produced original horror films that don’t just scare, but explore deeper themes, evoking a sense of dread that lingers long after the credits roll. Its The latest horror offering, ‘Heretic’ follows two Mormon missionaries, sisters Barnes and Paxton, who find themselves in mortal danger after visiting the home of Mr. Is it up to A24 standard? Written and directed by Scott Beck and Bryan Woods, ‘Heretic’ is a suspenseful exploration of faith, fear, and the unknown. A brooding, sinister atmosphere is fostered throughout the first two acts, and one is unsure of which direction events are going.
This slight dip in momentum, however, does not overshadow the film’s overall success
There’s also some dark humor, mostly in the behavior and dialogue of Reed’s character; whose good nature and charm mask a hidden darkness. Additionally, Reed’s monologues on religion raise genuinely interesting points, exploring the conflicts between faith and doubt, and the struggle to reconcile belief with the harsh realities of the world. Its comparisons between religion, board games, and popular music are especially provocative, challenging the protagonists (as well as the audience) to reflect on their own beliefs and the social structures that surround them. The narrative is engaging throughout, though it loses steam in the third act, where things are reduced to a predictable riff on classic horror tropes. While the initial set-up is masterful, the resolution feels somewhat rushed and less impactful compared to the film’s earlier complexities.
It is impressive
Chung-hoon Chung’s haunting cinematography skillfully captures the eerie isolation of the Reed home, creating an atmosphere that is both beautiful and unsettling. Chung’s use of extreme close-ups enhances the film’s sinister atmosphere, as does his use of light and shadow. Additionally, Philip Messina’s intricate production design is stunning; The contrasting interiors of Reed’s home are very artistically impressive, whilst also speaking to Reed’s development as a character. Initially, Reed’s home appears quaint and unremarkable, much like the man himself. As the plot progresses and the Sisters delve deeper into his home, it undergoes a metamorphosis, becoming more grand and imposing, before sinking into basic shabbiness.
It’s also a well-edited picture, moving along at a brisk pace (and one that feels much shorter than an hour and fifty minutes)
This transformation not only serves to heighten the tension but also symbolises the revelation of Reed’s true nature; a clever piece of visual storytelling. Furthermore, Chris Bacon’s original score enhances the film’s sinister tone, keeping viewers on edge, whilst making clever use of music from artists such as The Hollies and Radiohead, with the latter’s ‘Creep’ being used to particularly strong effect.
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