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“Heretic” is more than just a horror movie — it’s a study on the nature of belief.

Directed and written by filmmaking duo Scott Beck and Bryan Woods — best known for writing 2018’s “A Quiet Place” — “Heretic” tells the story of two Mormon missionaries who respond to a request for more information about the Church of Jesus Christ of Latter-day Saints from a mysterious man named Mr. Reed (Hugh Grant).

The missionaries are two young women: the seemingly naive Sister Paxton (Chloe East) and the more skeptical Sister Barnes (Sophie Thatcher). They arrive at Mr. Reed’s secluded house on an exceptionally rainy day. Assured by Mr. Reed that his wife is present — missionaries are not allowed to be alone with the opposite gender, a detail meant to put the sisters at ease — they go inside.

Once inside, they sit down in Mr. Reed’s artificially homey living room to discuss Mormonism, where he steers the conversation into unexpectedly personal territory. Chung-hoon Chung’s cinematography is especially deft in this scene, with extreme closeups and 360-degree arc shots heightening the tension. The set design is equally deliberate — a mug emblazoned with “Hubby” and a kitschy wall quote reading “bless this mess” underscore the feigned warmth of Mr. Reed’s home, a sharp contrast with his increasingly invasive questioning.

Grant, who has moved far from his romantic comedy roots in roles like“Paddington 2” and “Wonka,” delivers an off-putting and dangerously magnetic performance as Mr. Reed. His charisma carries much of the film’s tension, and “Heretic” is at its best when he is given space to deliver his long-winded tangents. The dialogue, particularly his, is meticulously well-crafted, balancing humor and intimidation with precision.

Grant’s portrayal provides a foil for Thatcher and East, who bring a human warmth to the film. Both ex-Mormons, Thatcher and East bring a subtle authenticity to their roles through tense physicality and practiced politeness. Thatcher’s Sister Barnes acts more directly as an opponent for Mr. Reed, trying to challenge and outsmart him. East’s Sister Paxton reacts more fearfully, trying to placate Mr. Reed by accepting his arguments. However, it is Sister Paxton who develops the most by the end of the film. East displays a wide range of emotion, helping to communicate Sister Paxton’s growth. However, it is the two girls’ heartwarming relationship that strengthens audience empathy the most.

One standout scene involves Mr. Reed berating the sisters for not recognizing the song “The Air That I Breathe” by The Hollies.

The moment, equal parts funny and confrontational, serves as a metaphor for Mr. Reed’s broader critique of religion: Its iterative nature, like how a pop song is borrowed and reworked, calls into question the idea of a singular truth. As Mr. Reed’s home becomes a purgatorial space, he challenges the sisters to grapple with the concept of “true religion” — a question that the film itself leaves open.

The first half of “Heretic” masterfully blends dark comedy and psychological horror, keeping viewers at the edge of their seats. However, as the sisters become truly trapped by the increasingly devious Mr. Reed, the film begins to falter.

The intimate tension of the first act gives way to more conventional horror tropes. Initially, it appears that Mr. Reed has staged an elaborate maze that the sisters must navigate to escape his home. Thus, the audience might expect a carefully designed game, but the movie is mostly relegated to one room from here.

Despite building impressive tension, “Heretic” doesn’t completely stick the landing. In the bloody last act, Mr. Reed sheds his pretense entirely, and in doing so, the film loses its psychological suspense. The film grows more visually frightening, but it doesn’t quite match the idiosyncratic smartness of the first act.

Despite the film’s uneven conclusion, “Heretic” offers strong performances from its leads and remains a thought-provoking exploration of faith and control. The ending leaves a lot up for interpretation, perhaps as any meditation on religion should. Though the film is hampered by a somewhat jumbled, disappointing final act, Beck and Woods have certainly crafted a uniquely layered take on the horror form that probes the fragility of belief.