Hugh Grant adds some sinister edge to religious horror

The most striking moments in Scott Baker and Brian Woods’ religious horror film pagan Hugh Grant plays Mr. Reed, a cerebral theologian with reptilian powers of persuasion who engages in intellectual debate with two young Mormon evangelists. Grant’s eager eyes and mischievous smile attract the attention of Renée Zellweger’s Bridget Jones and Julia Roberts’ Anna Scott.notting hill), here to test the boundaries of these junior preachers’ faith with his trademark charisma. He imbues his character, a sinister hermit, with a well-intentioned streak but soon finds himself a disturbing trap. paganThe film, which premiered at the Toronto International Film Festival on November 15, makes Grant a convincing villain and makes you wonder why he doesn’t get more roles.

Mr. Reed is one of those people whose intense glares and off-color jokes betray an eccentric personality that is easily overlooked at first. This is what happened to Sister Paxton (fabulist Chloe East) and Barnes (Yellow shirt army Sophie Thatcher, a chapter of The Church of Jesus Christ of Latter-day Saints deployed two activists to convert this curious soul. When the women arrive at his home – at the top of a steep Frank Lloyd Wright-style staircase that blends into a grassy hill – Mr. Reed’s candor and warmth put them at ease. Most people treat preachers like the plague. An early scene in which Sister Paxton is publicly humiliated by a group of teenagers illustrates their status in this community.

But Mr. Reed was different. He invited the Paxton and Barnes sisters in, assured them that his wife was home (they said Mormon women could not be alone with men), and even offered them blueberry pie. It didn’t matter that his actions suggested some malice, that he couldn’t stop staring at the surgical marks on Sister Barnes’ arm, or that his questions entered a more personal realm. His focus on faith was so rare—he pulled out his own annotated Mormon Bible—that Sisters Paxton and Barnes decided to ignore their anxieties. Of course, this is a mistake.

Baker and Woods, famous for their creations quiet placeconfidently building up the initial chill pagan. With longtime Park Chan-wook cinematographer Chung-Hoon Chung and hunger games The directing duo, led by production designer Philip Messina, focused on the incredible details of Mr. Reed’s home, creating a haunting tone. The wallpaper—a sickly yellow pattern—combined with the lack of windows and carefully placed furniture made us, and the girls, question the trustworthiness of the owners.

The longer the Paxton and Barnes sisters chatted with Mr. Reed, the more obvious the hostility in the space became. His enthusiasm bordered on aggressiveness, a sign that especially alerted Barnes to the dangers of the situation. By the time the women realize they’re in danger—the door won’t open, the pie isn’t there—it’s too late. Mr. Reed revealed himself to be a religious obsessive, a self-taught scholar of the faith. His research led him to some disturbing conclusions, which he charted for Paxton and Barnes in one of his articles. paganThe funniest and most distinctive scene. Suffice to say, it involves Monopoly, Jar Jar Binks, Radiohead and the Hollies.

Grant delivered his lengthy musings with the coolness of a professor and the speed of an enthusiast. He paces the back room where he has gathered guests and displays props to support his points. Chung uses an overhead shot to capture Mr. Reed’s tabletop—where religious texts and a version of the Monopoly board game are neatly arranged—reminiscent of a Renaissance triptych.

pagan These early moments stand out, including the entrances of Paxton and Barnes and Mr. Reed’s speech. East and Thatcher’s performances played a major role in keeping us spellbound. If Grant is the cunning villain, these actresses are the savvy horror protagonists worth rooting for. When Mr. Reed ambushes the women intellectually, a gripping twist occurs that puts their faith to the most extreme test. East’s Sister Barnes first captivates us with her keen observation and fearless condemnation of Mr. Reed’s logic. But soon we are introduced to Mrs. Thatcher, who cleverly exploits Paxton’s perceived naiveté throughout the film.

like Evaluateis another work at this year’s Toronto International Film Festival, pagan It is most eye-catching as a three-person chamber drama. The charade between Mr. Reed, Paxton and Barnes helps distract from the script, which is teetering under the pressure of analysis. Baker and Wood initially seem intent on questioning the pitfalls of modern religion, but their narrative never outright criticizes it. Mr. Reed does the same once he switches from his spiel to more traditional horror villain plotting pagan Distance yourself from its most heated arguments. While this doesn’t entirely diminish the thrill of watching Grant’s character revel in his own so-called intelligence, it does make the enterprise disappointingly shallow. The Mormon leader’s earnest search for clues about the missing girl similarly amounts to little more than a cheap joke that was done better earlier in the film.

The relationship between Paxton, Mr. Barnes and Mr. Reed remains the most intriguing thread in the book pagan. Even when the script veers into demoralizing territory—trading potential vitriol for a more neutral conclusion—their game of cat and mouse keeps us curious and loyal.