In Hokum, Adam Scott finds himself down an elevator trapped in rooms and corridors with no obvious escape–the lighting is just a little darker than in “Severance.” Creepy from start to finish, Hokum is a worthwhile horror-thriller, even if it’s a bit more conventional than it wants to admit.
Scott plays an asshole writer who thinks he’s hot shit, and who is also utterly depressed as he revisits the old Irish hotel his late parents stayed during their honeymoon. He learns that the honeymoon suite has been locked off because it may or may not contain a bona fide witch who likes to eat the souls of children. Or anyone who stumbles across her path. But I’m sure that won’t factor into the story.
Written and directed by Damian McCarthy, Hokum feels like a mainstream evolution from his previous movies Oddity and Caveat. McCarthy stays true to his Irish roots and delivers another moody, atmospheric film that relies heavily on squinting into the darkness and straining to discern whispers of sound. But with a recognizable star in the leading role and a presumably larger budget backing it up, Hokum is more accessible than his previous efforts–though it’s arguably his least terrifying picture.
Comparisons aside, Hokum is another showcase for McCarthy to flex his talent. Each moment is finely tuned and alluring, each piece aligned to his vision. Even when the movie settles into its more straightforward “escape the bad guy in the darkness” third act, McCarthy zigzags through his story, keeping the audience on its toes. It’s a mature filmmaking effort that further establishes McCarthy as a top-tier horror filmmaker.
Scott is great in the lead role, carrying a sordid character arc on his shoulders. He’s a dick, but he’s traumatized (so that makes his dickishness allowable, right?), and as the movie progresses he proves to be a fitting protagonist. David Wilmot shines in a small but memorable supporting role.
As a whole, Hokum exceeds expectations. The hotel where much of the movie takes place is downright creepy, and McCarthy sucks you into the soulless place with glee. The third act is fairly conventional, yes, but McCarthy is able to elevate the material in all the right ways.
Review by Erik Samdahl. Erik is a marketing and technology executive by day, avid movie lover by night. He is a member of the Seattle Film Critics Society.
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