Hokum

★★★☆

Hokum (2026)

Runtime: 107 minutes

MPAA: Rated R for some violent/disturbing content, and language.

Just when you think you know where Hokum's going, writer-director Damian McCarthy gives you something else.

Here's what the synopsis reads on IMDb: A horror writer visits an Irish inn to scatter his parents' ashes, unaware the property is said to be haunted by a witch. Sounds really simple, right? Don't let that fool you. Hokum blends Irish folklore with guilt, murder and horror, an unpredictable ride that gets slack at points but mostly leaves you constantly guessing in dread. McCarthy juggles multiple things at once - a murder mystery, spiritual rot, supernatural events - and you can sometimes feel the film become a little shapeless and too subtle as you start to question its logic or intent. But the symbolism, atmosphere, sound design, negative space and pure terror generated throughout is so intense, merely this alone is enough to make it worth a watch. The fear of darkness gets amplified as reality distorts around Ohm Baumer (Adam Scott), which will leave you biting your teeth for most of the runtime.

There's a tiny caveat before checking in: Baumer isn't exactly a likeable person. He is an acclaimed writer who's unsure of how to end the final book of his Conquistador trilogy, considering a bleak ending which he finds unsuitable. Travelling to Ireland to scatter his parents ashes, Baumer retreats to The Bilberry Woods Hotel, where his parents honeymooned. And speaking of honeymoon, the owner Cob (Brendan Conroy) tells the tale of a local witch called the Cailleach, who kidnaps people and tours them to the underworld, where they get clawed by the souls who live there. Baumer dismisses it, and learns about Cob's hesitation to re-open the honeymoon suite, claiming that the witch has been contained there.

Baumer meets bartender Fiona (Florence Ordesh), desk clerk Mal (Peter Coonan), Jerry (David Wilmot), groundskeeper Fergal (Michael Patric) and bellhop Alby (Will O'Connell) throughout the next few days. He's dismissive and rude, even going as far as burning Alby's hand when he enthusiastically asks Baumer to read his manuscript. Without spoiling, Baumer's intense guilt from the past causes him to attempt suicide, in which Fiona and Alby save him from doing so. He wakes up weeks later, only to learn that Fiona has gone missing. Meeting Jerry outside the hotel, he is convinced that Fiona is in the honeymoon suite, prompting them to steal the key from Cob and unlock the room, triggering a chain of events.

And man, does Hokum go. Jerry gets caught by Fergal, who wants to hand him to the police for killing Jerry's wife, leaving Baumer alone to investigate in the honeymoon suite. Mal breaks in, and Baumer discovers a horrific revelation that causes Mal to lock Baumer in the room. Most of the film will take place in this single setting, which expands to a basement that can be accessed via a dumbwaiter. McCarthy utilises the confined space, darkness, ghostly sounds and build-up with imagery and warped reality to create genuine dread as Baumer explores the area. I had my shirt covering my nose thoroughout; that's how effective it is. The Cailleach preys on the spiritually corrupt, from moral, psychological rot to sinful acts. Mal is a perfect fit for her criteria as he committed murder, while Baumer is weighed down by grief, developing a cynical worldview. Baumer, however, is spared from this as he seeks for redemption and lets go of his past. It's presented very subtly underneath the scares, which may be mistaken for a lack of depth, but plays better when thinking more about it after watching the film.

The other elements outside of these do feel like an afterthought, reaching for too many things that it doesn't have a firm grip on everything. But what's refreshing about Hokum is that it leaves a sense of mystery throughout. The culturally specific folklore isn't fully explained to us, leaving most of the scenes open to interpretation. Scott remains deadpan, internally processing the things that are happening to him, although sometimes a little too restrained. Most importantly, despite considering myself as someone with a high tolerance for horror films, I can confidently tell you that for a while now, I'll be hesitant to walk around the house at night.