Damian McCarthy is fast making a name for himself as one of the best up and coming voices in original horror. Off the back of the fantastic Oddity, his new film was bound to be met with extreme anticipation. So much so that queues to get into the world premiere for Hokum started three hours before the runtime, and it was worth the wait because despite a reliance on jump scares throughout, the connection to Irish folklore and confronting the darkness that plagues the human psyche feels unique and ultimately terrifying.

Hokum follows successful writer Ohm Bauman (Adam Scott) who is in the midst of finishing the final book of his trilogy that has become a worldwide sensation, only he’s suffering from writer’s block and struggling to find a suitable ending. In search of inspiration, he takes a trip to Cork, Ireland, returning to the exact hotel where his late parents went on their honeymoon and to spread their ashes in the last place where they were both at their happiest.

Almost immediately after arriving, Ohm quickly realises this is far from a normal hotel. There’s odd behaviour from the staff from the outset, with particular hostility towards the idea of Ohm staying in the Honeymoon Suite, which is locked due to it being “haunted” by a witch. As things become increasingly strange, and the disappearance of Fiona (Florence Odesh) during a Halloween party occurs, Ohm can’t fight the urge to investigate.

Trauma and the subsequent dealing with that trauma sits at the forefront of the messaging in Hokum. In Ohm, Damian McCarthy has created a character whose whole life has been dictated by an overwhelming sense of unresolved feelings regarding horrific events that have occurred throughout his life. Because of this, Ohm is actually a bit of a dick, and that might be putting it politely. He’s arrogant, rude, and completely obnoxious. So much so, it may turn some members of the audience off to the point where the emotional core at the heart of the story may not land as intended.

That said, Adam Scott is phenomenal. While he’s starred in many high profile roles, you would be hard pressed to find one quite as technically challenging as this. Scott is required to do an abundance of acting without exposition, but the facial expressions he’s able to conjure in some of the most intense moments are frighteningly precise. So much so that despite the material perhaps not winning audiences back round on Ohm, Scott’s performance and pain being so captivating just might.

Horror films that rely too heavily on jump scares usually crash and burn very quickly. However for Hokum, that couldn’t be further from the truth. In fact, these are some of the most effective jump scares utilised in years. McCarthy builds spine chilling tension from the off and uses inventive wide angle shots that will have audiences studying all four corners for anything lurking in the shadows and expecting the worst. And while some will say there’s an over reliance on the utilisation of the scares, they are almost always effective and absolutely terrifying.

Technically, Hokum is nothing short of spectacular. The production and set design is impeccable, with McCarthy making use of his inflated budget to create inventive sequences that immerse the audience as if they were in the hotel with Ohm. Cinematographer Colm Hogan excels with visually stunning imagery, including shots of the beautiful island of Ireland. Composer Joseph Bishara is also deserving of plaudits, with the haunting and goosebump inducing score a real standout.

While Hokum may start off slow and the story of Ohm’s character may not land for all, when it picks up it becomes a truly petrifying horror that offers a glimpse into Irish folklore and the mythology of witches. Damian McCarthy’s storytelling proves again that his unique voice is one to listen to when it comes to the horror genre. A definite must watch for horror fans in the cinema.