Film Review: ‘Hokum’ is a Creepy Haunted House Tale with Adam Scott Doing Superb Work

Hokum, the latest supernatural horror film from writer-director Damian McCarthy, leans into familiar genre territory but finds enough texture in its character work and atmosphere to make the experience worthwhile. Anchored by a compelling performance from Adam Scott as Ohm Bauman, the film blends psychological unease with traditional haunted house mechanics, delivering a story that is as much about internal reckoning as it is about external terror.

At its core, Hokum follows a relatively simple setup: an author travels to a remote corner of Ireland to scatter the ashes of his deceased parents, only to find himself staying in accommodations that may or may not be haunted. The premise inevitably calls to mind 1408, another story about a skeptical writer confronting the supernatural within the confines of a single location. But where that film featured a protagonist actively seeking out a haunting, Hokum flips the dynamic. Ohm isn’t chasing a ghost story; he stumbles into one, and that distinction gives the narrative a slightly more organic entry point.

Ohm himself is an interesting, if not entirely likable, guide through this ordeal. He’s abrasive, often rude to the people he encounters, and carries himself with a detached cynicism that initially makes it difficult to root for him. However, the film smartly avoids reducing him to a caricature. As we learn more about his relationship with his parents and the emotional baggage he carries, his rough edges begin to feel more like armor than personality. He isn’t a bad person, just a guarded one, and that nuance helps ground the film when the supernatural elements begin to escalate.

The setting does a lot of heavy lifting in establishing the film’s tone. The remote Irish landscape, coupled with the dimly lit interiors of the lodging, creates an immediate sense of isolation. McCarthy makes effective use of dark hallways, narrow corridors, and minimal lighting—often relying on a single lantern carried by Ohm—to build tension. These visual choices aren’t groundbreaking, but they are executed with precision. The film understands that what you can’t see is often more unsettling than what you can, and it uses that principle to sustain a steady undercurrent of dread.

Of course, this is still a horror movie, and it doesn’t shy away from delivering jump scares. Some land better than others, but the strongest moments come when the film leans into its darker thematic elements rather than relying purely on shock. There’s a recurring focus on suppressed trauma, a motif that has become increasingly common in modern horror. While Hokum doesn’t necessarily bring a fresh perspective to this idea, it integrates it well enough into Ohm’s personal journey. His past begins to manifest in unsettling ways, blurring the line between psychological and supernatural horror as he becomes trapped within the haunted space.

The film also introduces a mystery element early on, adding another layer to the narrative. Ohm becomes involved in the search for a missing woman, which intertwines with the haunting and gives the story a sense of forward momentum. This aspect is one of the film’s stronger components, as it encourages the audience to engage with the plot beyond simply waiting for the next scare. It’s not the most compelling mystery, but it’s effective in maintaining interest and raising the stakes.

One of the more predictable elements is the “forbidden room” trope, introduced early on with the locked haunted honeymoon suite. It’s a classic setup, and the film doesn’t pretend otherwise. You know from the moment it’s mentioned that Ohm will eventually have to enter that room. To its credit, Hokum provides a believable and emotionally grounded reason for why he makes that choice. It’s not driven by curiosity or stupidity, but by a genuine desire to help, which reinforces the idea that Ohm, despite his flaws, has a fundamentally decent core.

The final act is where the film truly comes together. As Ohm becomes fully trapped within the haunted environment, the tension ramps up significantly. McCarthy effectively combines the supernatural threat with a more grounded, human danger, creating a layered climax that keeps the audience guessing about how, or if Ohm will escape. It’s in these moments that the film feels most confident, balancing its different ideas into a cohesive and gripping conclusion.

Ultimately, Hokum doesn’t reinvent the haunted house genre. It follows a familiar blueprint and leans on well-worn tropes, particularly in its exploration of trauma. But strong atmosphere, a solid central performance, and a well-executed final act elevate it above mediocrity. It may not linger in the mind long after the credits roll, but it gets the job done, and sometimes, that’s enough for a horror movie to succeed.

SCORE: ★★★1/2