Written and directed by Scott Beck and Bryan Woods (65, Haunt, writers of A Quiet Place), Heretic is a so-called psychological horror that is disappointing on all fronts. After only seeing the trailer once months ago, I initially thought that Heretic was a film about a serial killer (Hugh Grant) who used his crazy mouse trap-contraption house to lure in religious, door-to-door service people and kill them.

While that is partially the case, Heretic follows two missionaries from The Church of Jesus Christ of Latter-day Saints; Sister Barnes (Sophie Thatcher, The Book of Boba Fett) and Sister Paxton (Chloe East, The Wolf of Snow Hollow). The two women go to the house of Mr. Reed (Grant) who has expressed interest in hearing more about their religion.

As Sister Barnes and Sister Paxton make their way inside, they soon find themselves trapped in Mr. Reed’s bizarrely intricate home featuring electricity on a timer, a front door that supposedly won’t open again until morning, and metal construction that blocks cell phone signals.

Reed, a theology major with vast knowledge of all religions, claims to have found the one true religion. Whether the two women will escape or if Reed knows what he’s talking about all factors into the cerebral aspect of the film.

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Martin Freeman constantly looked miserable and bored out of his mind when he appeared in films like The Hobbit trilogy and the Sherlock TV series. He suddenly looked like he was having the time of his life when he shifted film genres, plunged into horror, and starred in the 2017 film Ghost Stories.

It seems to be the same case for Hugh Grant. While this isn’t his first horror film, Heretic is his first film in the genre in 36 years (Grant starred in The Lair of the White Worm in 1988). Grant is noticeably lively in his performance in Heretic though and seems downright giddy to be torturing people.

With cinematography by Chung Chung-hoon (Last Night in Soho, The Handmaiden), Heretic has two visually memorable sequences thanks to how they’re shot. When Sister Barnes and Sister Paxton first arrive, Mr. Reed leaves the room to check on his “wife.” While he’s gone, Barnes turns the candle he blew out and discovers what the scent of the candle is. As she slowly turns the candle, the camera turns with it.

Reed has a miniature duplicate of his house complete with little figures that represent Sister Barnes and Sister Paxton. In a sequence when Sister Paxton is trying to run away from Mr. Reed, we’re following her movements in the miniature but it seamlessly transitions from the model to the real thing when she enters the room and slams the door.

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The method in which Heretic is written is somewhat odd. Not quite horrific enough to be scary with its religion-defying dialogue taking center stage, Heretic is essentially a two-hour sermon attempting to destroy your faith with some splashes of blood and a raggedy woman or two dying in a blueberry pie.  

It feels like if you walked into Heretic devoted to the Mormon religion, you’ll walk out of the theater a different person. Mr. Reed’s arguments regarding all religions stemming from the same concept are portrayed in a way that is believable and convincing.

He somehow rambles about Monopoly and board games, music, and vinyl records to demonstrate similarities between certain board games, how some songs are essentially the same tunes with different lyrics, and that all religions are more similar than dissimilar.

While the dialogue-driven film can be interesting, it’s also rather boring. There’s an unsettling aspect to Mr. Reed’s behavior that capitalizes on the tension in the film. But there are also these long stretches where nothing happens besides the next topic of conversation or a weak payoff where someone’s throat is cut with a box cutter or it builds up to a whisper.

Heretic is beautifully shot with a stellar performance from Hugh Grant, but its intriguing concept is drowned out by the desire to deconvert the audience and have a lukewarm reveal regarding whatever the one-true religion is. Watching the film is like being trapped in a church of a religion you don’t believe in with an overwhelmingly passionate pastor trying to dissuade you from ever coming back.

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The next time you can’t decide what kind of movie to watch, stream “Emilia Pérez.”

In just over two hours, there’s pretty much everything: noir crime thriller, thought-provoking redemption tale, deep character study, comedic melodrama and, yes, even a go-for-broke movie musical.

The other important thing about Netflix’s standout Spanish-language Oscar contender? You won’t find a more talented group of women, whose performances keep French director Jacques Audiard’s movie grounded the more exaggerated it gets as the cast breaks into song-and-dance numbers.

Trans actress Karla Sofía Gascón is a revelation as a drug kingpin desperate to live a different, female existence in “Emilia Pérez” (★★★½ out of four; rated R; streaming Wednesday). She’s one of several strong-willed personalities seeking inner joy or real love in their complicated lives: Selena Gomez plays a mom driven back into old bad habits, while Zoe Saldaña turns in an exceptional and multifaceted performance as an ambitious attorney caught in the middle of drama.

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Rita (Saldaña) is a defense lawyer in Mexico who toils for an unappreciative boss while also making him look good in court. But someone does notice her skills: Rita receives an offer she can’t refuse from Manitas (Gascón), a notorious cartel boss who yearns to live authentically as a woman and hires Rita to find the right person for the gender affirmation surgery. After moving Manitas’ wife Jessi (Gomez) and their two boys to Switzerland, Rita helps him fake his death while Manitas goes under the knife and becomes Emilia.

Four years later, Rita’s in London at a get-together when she meets and recognizes Emilia, who says she misses her children and wants Rita to help relocate them back to Mexico. (Emilia tells them she’s Manitas’ “distant cousin.”) Rita moves back home and helps Emilia start a nonprofit to find the missing bodies of drug cartel victims for their family members. While Emilia tries to make amends for her crimes, she becomes increasingly angry at Jessi for neglecting the kids and reconnecting with past lover Gustavo (Edgar Ramirez).

And on top of all this dishy intrigue is how it works with the movie’s musical elements. Original songs are interspersed within the narrative in sometimes fantastical ways and mostly for character-development purposes. They tend to be more rhythmically abstract than showtunes, but by the end, you’ll be humming at least one rousing melody.

Saldaña gets the lion’s share of the showstoppers, including one set in a hospital and another at a gala where Rita sings about how their organization is being financed by crooks. Gomez gets jams of the dance-floor and exasperatingly raging variety, and Gascón has a few moments to shine, like the ballad that showcases her growing feelings toward Epifania (Adriana Paz), a woman who’s glad when her no-good criminal husband is found dead.

Gascón is spectacular in her dual roles, under a bunch of makeup as the shadowy Manitas and positively glowing as the lively Emilia. What’s so good is she makes sure each reflects the other: While Manitas has a hint of vulnerability early on, sparks of Emilia’s vengeful former self become apparent as past sins and bad decisions come back to bite multiple characters in an explosive but haphazard finale. 

The stellar acting and assorted songs boost much of the familiar elements in “Emilia Pérez,” creating something inventively original and never, ever bland.

Quite a lot has changed since February 2005: YouTube hadn’t yet launched, Hurricane Katrina wouldn’t hit until August, and Disneyland was about to celebrate its 50th anniversary.

But things were happening on Feb. 27, 2005, at the 77th Academy Awards at the Kodak Theatre in Los Angeles. It was the first Oscar ceremony where more than one Black performer was vying for the lead actor trophy. And one of them took home the golden statue: Jamie Foxx.

You can call him ‘Ray’

Foxx went into the evening the heavy favorite to win for his performance as Ray Charles in “Ray.” Oscar voters love biopics, and Charles (who died several months before the film was released) was a beloved musical icon. Foxx also was nominated in the supporting actor category for his portrayal of a taxi driver in “Collateral,” though he didn’t win that trophy.

Foxx brought his daughter Corinne, then 11, to the ceremony as his date. After Charlize Theron read his name as the victor, Foxx hugged Corinne and took to the stage, keeping the energy going by getting the audience to do Charles’ signature call-and-response of “oooh!” and “aaah!”

Foxx thanked director Taylor Hackford for “taking a chance on this film,” and proceeded to give shout-outs to the first Black actor to win in the category, Sidney Poitier, and Halle Berry, the first Black performer to win a lead actress Oscar. He also thanked Estelle Marie Talley, his grandmother. “She was my first acting teacher. She told me, ‘Stand up straight. Put your shoulders back. Act like you got some sense.’

He also gave Corinne a nod from the stage: “I want to thank my daughter for telling me just before I got up here, ‘If you don’t win, Dad, you’re still good.’”

Keeping it real

Most of the other lead actor nominees came to the ceremony with multiple nominations (and in one case, multiple wins) under their belt already — and, bar one, they were all playing real-life people.

Don Cheadle, the sole nominee who was a newcomer to the Oscar competition, was competing for his performance as hotelier Paul Rusesabagina in “Hotel Rwanda,” while Johnny Depp had received his second lead actor nomination, this time for portraying author J.M. Barrie in “Finding Neverland.” Leonardo DiCaprio, recognized for his performance as Howard Hughes in “The Aviator,” was still 11 years from winning his first Oscar in 2016 (for “The Revenant”), but this was his second nomination and first in the lead acting category after an earlier nomination for his supporting turn in “What’s Eating Gilbert Grape.”

Clint Eastwood, who directed, produced and co-starred in “Million Dollar Baby,” played the only fictional character in the bunch, Frankie Dunn. He had previously won Oscars for best picture and directing (both for 1993’s “Unforgiven”), and this night he earned a similar double for “Million Dollar Baby.” But he kept his streak of never winning an acting Oscar intact: Morgan Freeman and Hilary Swank would win the supporting actor and lead actress trophies, respectively, while Eastwood had to be content with just being nominated in that category.