HOKUM Review
- Drew Sullivan
- 10 hours ago
- 3 min read

Ohm (Adam Scott) is an American novelist who travels to a remote, deteriorating hotel in rural Ireland to spread his parent's ashes. He is struggling with unresolved grief, and also a case of writers block. He is a successful writer, but seems to be struggling with the ending of the trilogy he's been writing for years. When he arrives at the hotel, something is clearly off. Whether it be the cagey staff members, or the low attendance, the hotel has an undeniable eeriness hanging over it. Oh yeah, and the honeymoon suite has been sealed off for years, and people seem to have slightly differing reasons why.
There is a push and pull factor to Hokum that is truly fascinating. For every jump scare, and there are a few great ones, there are deeply disturbing moments that slowly begin to sink into you. The performances are very subtle for the majority of the film, but they can become explosive very quickly. There are multiple different storylines, and therefore different paths the film takes in unsettling you. What this film really masters, is the balance between the supernatural horrors of folklore, and the everyday horrors of life. At times you are trying to decipher which is which, creating a really unique tone.
Hokum dives pretty heavy into the Irish folklore. Not only does it provide some of the horror itself, but it creates a tonal background for the entire film. Even the interpersonal relationships seem to be affected by it. The most likable characters are the ones that believe the supernatural elements to be true, and there is great intention in that. Our protagonist comes off incredibly snobby for being dismissive of it. The film dives in early on with the aerial shots over the nearby woods. The goats make sounds that are somewhat misleading you towards the sound of a screaming banshee. The banshee is a fairy woman often depicted as a wailing spirit or a hag predicting death. The Irish relationship with witchcraft is heavily influenced by land and spiritual ancestors while honoring liminal spaces. The film has such a direct relationship with place, the setting is truly a primary character. There is also a particularly terrifying scene involving a donkey man of sorts, symbolizing a 'jackass'.

It is a technically brilliant film. The cinematography is gorgeous, and the color gradient is very complimentary. The shooting locations definitely contribute to the beauty, but it is just incredibly well framed. I think the most valuable player here is the production design. Everything feels lived in, and it really amplifies that question of what is supernatural, and what is real. The honeymoon suite is particularly terrific.
Damian McCarthy has a stranglehold over this film, and it does definitely share some similar stylistic choices to Oddity, his previous film. Hokum sort of just takes them to the next level. McCarthy is officially a premiere voice in horror, and someone to pay attention to every single time he releases a film.
The performances are great, especially Adam Scott. He carries this skeptic demeanor into every situation, until he genuinely sees something with his own eyes. It comes off very subtle until he no longer has the option to be. Florence Ordesh as Fiona is great, and truly becomes the character whose well being you are the most invested in. David Wilmot as Jerry is probably the most fascinating character, and he carries this with a commanding screen presence. I think the ensemble works really well. The villainous performance could definitely stand to be more menacing, although the indecisive nature creates an interesting narrative in it's own right.
There is no doubt that this film has some borrowed horror tropes. The opening shot of the car going into the mountains is straight out of The Shining, and the film is about a writer going to a hotel in a remote location. Hokum does a lot to create something completely individual out of these tropes that it is indulging in.
If you are a fan of horror not only is this a must watch, but I think everything Damien McCarthy directs from here on out is as well.
🍿 SCORE = 91 / 100




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