Film Review – Hokum (2026)

      Hokum, 2026.

      Written and Directed by Damian McCarthy.

      Featuring Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Will O’Connell, Michael Patric, Brendan Conroy, Austin Amelio, Ezra Carlisle, Mallory Adams, and Sioux Carroll.

      Synopsis:

      A horror author travels to an Irish inn to scatter his parents’ ashes, unaware that the location is rumored to be haunted by a witch.

      In his bold haunted hotel film Hokum, writer/director Damian McCarthy (who previously created the horror anthology Oddity, filled with intriguing concepts that didn’t fully coalesce despite its atmospheric quality), Adam Scott stars as Ohm Bauman, a once-acclaimed writer now grappling with writer's block and disdainful of happy endings. While the plot unfolds, one starts to ponder whether McCarthy shares this sentiment. With an eagerness to deliver occasional jump scares and familiar folklore elements like witches and ghosts, the narrative is quite dark, revealing one shocking twist after another.

      Casting Adam Scott proves to be a stroke of genius, as his character, a grumpy novelist, is comically rude to nearly everyone he encounters, drawing from his background in comedy to portray a character as miserable as the unsettling books he produces (he is working on The Conquistador Trilogy, which seems to be well-known, prompting questions about its conclusion from those around him). Notably, a framing device introduces glimpses of the creative process behind this ending, featuring a man and a young boy (played by Austin Amelio and Ezra Carlisle, respectively) trapped in a desert, facing tough decisions. Though this narrative choice makes for a jarring introduction (despite the effective editing transitions), by the conclusion, the relevance of these scenes becomes clear.

      Ohm has retreated to the Irish countryside inn that was once a honeymoon destination for his late parents, perhaps postponing his intent to scatter their ashes there while seeking inspiration from the setting. As outlined, he shows no desire to make friends, telling a bartender (Florence Ordesh) who disapproves of his grim book endings that she might prefer the “shitty movie adaptations” with happy resolutions (serving as a humorous insider reference), dismissing a nearby homeless man (David Wilmot) who talks about mind-opening goat milk potions, physically dismissing a fan bellhop (Will O’Connell) who writes in his spare time (whom the self-centered author quickly undermines), and irritating the hotel staff.

      Shortly after establishing Ohm's unpleasant interactions with these characters, a tragic event occurs that won’t be revealed here. This incident offers insight into his mental state while advancing the story roughly two weeks, coinciding with the hotel’s closing for the season, as a mystery emerges involving the bartender's disappearance. McCarthy is clearly working hard to find ways to propel this plot forward, with Ohm left alone in the hotel at night to investigate, burdened by guilt and a sense of responsibility for what transpired.

      It takes a while to accept the film's leap into horror after a significant moment for the writer, marking a transition in tone. While McCarthy still has room for growth as a screenwriter, occasionally overloading his films with ideas that don’t flow seamlessly, this is offset by confident storytelling, unafraid to disclose essential plot points early on. Even with much of the information at hand, the film’s conclusion remains unpredictable, contributing to its electrifying moments of horror.

      By providing answers to some lingering questions, the focus shifts more towards Ohm as a character and his trauma-laden past. He must also confront a witch potentially residing in the deserted honeymoon suite while searching for the missing woman, grappling with how his history has shaped his character and nihilistic writing.

      With unsettling reflections from the corner of a TV screen, a chilling animatronic character revealing backstory, the oppressive dread of isolation, other supernatural elements, and an eerie production design featuring unsettling miniature statues that have voyeuristic qualities, Hokum offers moments akin to watching Adam Scott navigate puzzles reminiscent of a Resident Evil game. A gripping sequence where the writer desperately seeks help after becoming trapped enhances the film’s strikingly confident direction, delivering a propulsively eerie atmosphere and making entertaining use of its diverse elements. Hokum is delightfully fun while effectively conveying its themes about a lonely, troubled writer.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder