It’s no more sophisticated than a Longlegs in terms of scares, but in terms of storytelling, Hokum is up there with Weapons as a compelling and well-constructed horror-mystery. It’s reminiscent of many other horror films, but Damian McCarthy’s direction gives it a uniquely Irish flavour that sets it apart. If you’re a horror fan, you need to see this.

Ohm (Adam Scott) is an American bestselling author. He’s also a cynical, alcoholic bully. He goes to Ireland to scatter his parents’ ashes near the hotel where they spent their honeymoon. Upon leaving, the author learns that a member of the hotel staff has vanished. This, combined with rumours of a witch haunting the building, compels Ohm to stay and investigate.  

The Characters

It’s really refreshing to see a big mainstream horror film that’s not afraid to cast its lead in many a negative light. His writing talents are apparent in the magazine covers bearing his name in his apartment and in the many members of staff who recognise him in the hotel.

Socially, he comes across as blunt and self-absorbed. He’s rude to the staff and bullies anyone unworthy of his time. He obviously has a superiority complex. He’s also being stalked by his mother’s ghost. We know this before he arrives at the hotel. Ohm clearly has some unfinished business.

The other characters essentially serve as suspects in the unfolding mystery. Each personality is distinct and believable. There’s Mal (Peter Coonan), the anxious desk clerk, Jerry (David Wilmot), a local hermit, Fiona, the bartender, Fergel, the brutish groundskeeper, and Cob, the old and mysterious owner.

Trauma emerges as the central theme of Hokum, which, while arguably a generic choice, is complemented by the rural Irish setting and folklore. If the film were set in small-town America and concerned a demon from Christian mythology, it would drown amongst similar titles.

Ohm may not be the most sympathetic character, but he is undoubtedly interesting. His hardened exterior is the result of childhood trauma. He’s capable of love and compassion, but has taught himself to suppress such instincts. His arc in the film is essentially to embrace his vulnerabilities and thereby recover from his trauma and have better relationships.

Hokum has a good story with good characters that can be appreciated by fans and non-fans alike of horror.

Speaking of which…

The Horror

For the most part, Hokum is another Blumhouse-style jump scare fest. Some of the jumps are preceded by moments of suspense, which are elegant as well as hard to sit through. The others are more like those in your standard horror flick; out of nowhere and very alarming.

While this excessive use of jump scares can be considered cheap, their context serves the story. At the beginning of the second act, Ohm finds himself locked inside the Honeymoon Suite that is said to be haunted by the witch. Not only do we get a bunch of scares in this sequence, but we also get details about Ohm’s past.

The witch uses her powers to taunt Ohm and his trauma, most disturbingly in the form of ‘Jack the Jackass.’ He’s a character from a children’s show that Ohm grew up with. He’s essentially a man wearing a prosthetic donkey mask with bulging cartoon eyeballs. We don’t get a good look at him until his third appearance, but the little glimpses we get of him beforehand are immediately off-putting.

I’m surprised that not more people are talking about Hokum. While I wouldn’t call it a classic of the genre, its storytelling and filmmaking are worthy of attention. Frankly, the only people I wouldn’t recommend it to are those under 15 and anyone with a heart condition. It is that good.

I give Hokum an outstanding 8 out of 10.