Hugh Grant steps out of his comfort zone in Heretic, going very dark with a compelling turn as a reclusive, theology-versed figure who oscillates between threatening and fascinating. He’s a sinister know-it-all who traps two young women in his home to (at least in part, before things escalate) lecture them on religion and theological ideologies, a premise that lays the foundation for a layered and thought-provoking horror-thriller.

Heretic sits comfortably as a solid genre piece, bolstered by a mostly cracking screenplay that engages with some food for thought. Written and directed by Scott Beck and Bryan Woods—known for writing A Quiet Place and The Boogeyman, and writing/directing 65—the film unfolds with a steady pace, balancing tension with bursts of surprising narrative turns. While much of the dialogue-heavy runtime may test the patience of viewers disinterested in theological discussions, I found the exchanges to be gripping and nuanced.

The close-quarters setting adds to the film’s taut atmosphere. Beck and Woods, working with a relatively small reported budget of $10 million, make excellent use of the confined spaces, crafting a series of claustrophobic environment that mirrors the emotional and physical entrapment of the characters. As a whole, it’s a tightly constructed piece that thrives on its simplicity, offering a few jolts and twists to keep the audience on edge.

At its core, Heretic is a three-person drama, with Sophie Thatcher and Chloe East putting in fine work as the two Mormon girls caught in his elaborate web. Both actresses deliver strong performances, portraying distinct characters whose differing approaches to their predicament give audiences varying angles to root for.

Though Heretic doesn’t break new ground in the genre, it excels as an entertaining and often thrilling experience. Sure, the climax does step into slightly far-fetched territory, but sharp direction, an engaging script, and memorable performances ensure Heretic is a tense and satisfying chiller worth watching.