Why you need to see an incrementally icky Hugh Grant with others

The tension levels in Heretic start out slightly north of uncomfortable and end somewhere just south of unbearable – thanks to an impeccably cast Hugh Grant, writes Leigh Paatsch.

With Hugh Grant in full creep mode, and Moana and Maui returning in a solid but not spectacular sequel, there’s something for everyone on the big screen this week.

HERETIC (MA15+)

Hugh Grant plays one of the most memorable screen villains of recent times in Heretic.

Directors: Scott Beck, Bryan Woods

Starring: Hugh Grant, Sophie Thatcher, Chloe East

Rating: ★★★½

It’s not Hugh you know, but how you know he’s a menace

In Heretic, collective tension levels start out slightly north of uncomfortable, and are fated to end somewhere just south of unbearable.

Make no mistake. This is one of those deadly serious, yet distinctly silly thrillers you need to see in the company of others.

It can suddenly flood a room with terrifying expectations of what is about to happen, then just as swiftly clear the air with a sudden joke or a surreal plot twist.

Just as you will be unable to stifle your laughter in certain scenes, you will be forced to hold your breath in others. And you will definitely want to talk about the experience afterwards with anybody who has taken the same strange ride.

The lightning rod for this perfect storm of the sinister and the absurd is an impeccably cast Hugh Grant, who plays one of the most memorable screen villains of recent times.

His character is named Mr Reed, and if first appearances are anything to go by, this chatty chap poses no threat whatsoever to anyone.

However, in a movie genre where appearances are meant to be deceiving, it is not long before we detect there is something not quite right with this guy.

It is not long before we detect there is something not quite right with this guy.

By then, it is already too late for the two young women who have already knocked on Mr Reed’s door, and are now sitting in his living room.

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are earnest young Mormon missionaries who mistakenly think they have a shot at recruiting Mr Reed to their religious team.

Without revealing too much, it soon becomes clear that not only is Mr Reed a man of little faith. He is also a man who has tricked up his entire residence as an impenetrable, high-security bunker.

If the young ladies wish to leave, they will first have to engage with Mr Reed in a discussion about devotion, higher beings, and the questionable intentions of organised religion in general.

If that all sounds a bit heady and highfalutin’ for a flick like this, well, this is where the comedic unease Grant brings to his role really kicks in.

In between flexing his intellectual prowess on matters theological, Mr Reed will also sing the praises of blueberry pie, sing a version of Creep by Radiohead, and slip in an impersonation of, I kid you not, Jar-Jar Binks from Star Wars Episode 1; The Phantom Menace.

To be honest, Heretic falters slightly in its final act, when Reed’s hostages must make their obligatory last-ditch bid for freedom.

Nevertheless, the movie has already put up such a good fright courtesy of Grant’s incrementally icky performance, that any slight drop in quality will be forgiven and forgotten by most.

Heretic is in cinemas now

MOANA 2 (PG)

Moana remains a force to be reckoned with on the open seas in Moana 2. Picture: Disney

Rating: ★★★

General release

Released in 2016, the original Moana was one of the most popular animated movies of its era, grossing just shy of a billion at the box-office. It has since become the most-streamed title ever on Disney+, which means the belated sequel Moana 2 has a ready and willing audience awaiting its arrival.

The enjoyment factor rises noticeably once Moana and Maui have re-teamed.

As can often be the case with follow-ups that take their time getting to the cinema, Moana 2 is a touch overburdened with the need to re-emphasise what everybody loved about the first one. Which is perfectly OK. Auli’i Cravalho’s title character remains a force to be reckoned with on the open seas, and though the sequel takes a little too long to reunite her with demigod pal Maui (Dwayne Johnson), the enjoyment factor rises noticeably once they have re-teamed.

The marine animation remains as glorious as ever, but the song sequences are a bit of a let-down (Moana composer Lin-Manuel Miranda did not return for the sequel, sadly).

BLITZ (M)

Saoirse Ronan in Blitz.

Rating: ★★★★

Now screening on Apple TV+

Directed by acclaimed filmmaker Steve McQueen (12 Years a Slave), this arresting portrait of London nearing an unimaginable eve of destruction is masterfully blended with a stirring tale of a missing son and his worried mother.

The year is 1940, and with World War II still unfolding chaotically across Europe, London is being bombed on a nightly basis by the Germans. Therefore single-mum munitions worker Rita (Saoirse Ronan) has no choice but to send her only child to safety in the countryside. However, 9-year-old George (accomplished newcomer Elliott Heffernan) is having none of that. He jumps off a train in the middle of nowhere and begins the gruelling trek back to the big smoke, evading detection or guidance at every turn. Meanwhile, back in the British capital, Rita must somehow balance her grief over George’s disappearance with the need to pitch in with other Londoners to save their city from annihilation.

Magnificently staged from start to finish, and the anchoring performances of Ronan and young Heffernan are sublime.

Originally published as Why you need to see an incrementally icky Hugh Grant with others