“Hokum” follows novelist Ohm Bauman, who is forced to confront the dark corners of his past after retreating to a remote inn.
Everything on Display
This is a true visual story, as “Hokum” shows the audience everything. A novel is being written. It’s visualized. A memory is had. It’s visualized. There’s even a witch. It’s also visualized. The list can continue. Not a single thought is left up in the air here; it’s all open for viewers to analyze and interpret.
This “tell-all” approach takes some getting used to. Because… the early stages of “Hokum” are oftentimes jarring. There’s no real sense of direction in the film’s opening, simply dropping the audience into a moment with no backstory. And even as the 107-minute runtime progresses, complete answers aren’t often given. It’s a film that reveals information in bits and pieces, giving the audience a chance to fill in the gaps in the process.
Horror in the Details
“Hokum” isn’t a traditional horror movie. It’s part supernatural, part folk, part murder mystery. It’s a bold blend of different subgenres that doesn’t always feel coherent, but somehow sticks the landing.
The horrors are never forced here. Instead, they’re baked into the fabric of the story. While some darkly comedic elements are included, “Hokum” is overly dreadful. Not only is suicide explored, but also guilt and unresolved traumas that can come with it. Time and time again, it’s these bleak ideas that are sewn into the scares themselves that make them so effective.
If you’re looking for answers, they’re not here. “Hokum” isn’t overly interested in providing lore. There’s no true exploration of supernatural entities — it’s a contained story that functions as a character study over anything else.
Despite taking place in an old hotel, “Hokum” is stunning. Director of photography Colm Hogan knows exactly where to place the camera, capturing unsettling shadows and figures in the background. Much of the movie occurs in darkness, but minimalistic lighting adds an unnerving ambiance.
Then you add in the sound design alongside Joseph Bishara’s score. Throughout the entirety of “Hokum,” slow moans and hums are integrated. They’re subtle enough to have you looking over your shoulder — which can be distracting, but also wildly immersive. Bell chimes are also a recurring noise that interject at just the right moment.
The scares aren’t cheap in “Hokum” (well, usually not). The film has brief instances of clichéd jump scares, but more often than not, it’s a slow buildup. The visuals and sound collage to ramp up tension before unleashing it in terrifying ways.
A Character Worth Unpacking
Writer-director Damian McCarthy weaves between sincerity and scares. He empathizes with the central character, but at the same time acknowledges his faults. Many movies unnecessarily guide viewers toward how they “should” feel. McCarthy doesn’t. It’s an exploration of deep-rooted traumas that doesn’t ask for absolution.
All of this comes through Ohm Bauman, who is not a likable “protagonist.” Instead, he’s openly pessimistic and rude to everyone around him. At the start, these negatives seem to be the sole basis of the character. As the plot progresses, however, additional layers are peeled back to reveal the “why” behind these traits. It’s in these ways that Ohm eventually becomes relatable. Everyone has days where the darkness overshadows the light — for him, it’s just everyday. But what comes out of this is a story of self-forgiveness and acceptance.
Adam Scott (Ohm Bauman) is a large reason for this. Most of the time, his performance is dull by design. But slight voice shifts and mannerisms are able to cast plenty of judgment and sass. And even though he isn’t “likable,” Scott’s performance manages to generate buy-in into him as an individual.
Also in the film are Austin Amelio, Florence Ordesh, David Wilmot and Will O’Connell. While most of the supporting cast only appear in brief spurts, they breathe extra life into “Hokum.” Contrasting with Scott’s purposeful blandness, the actors inject some much-needed humor. Wilmot and O’Connell, specifically, have comedic moments of banter with Scott that generate laughs.
“Hokum” tells all while providing little answers. Unease lurks around every corner, but it’s the depth that lingers after the credits.
Rating: 4 out of 5
