Hokum (2026) - Haunted or Hollow? - Good Film Hunting Review

This week we check into Hokum (written and directed by Damian McCarthy), where the concierge seems off, the honeymoon suite has baggage, and where a case of writer’s block is probably better handled at home. This film takes us into the Irish countryside, where Adam Scott plays a reclusive horror novelist who visits a remote inn to scatter his parents’ ashes, only to get pulled into tales of a witch haunting the honeymoon suite and a disappearance that cracks open his own past. So is Hokum a chilling throwback to old-school gothic horror, or does this haunted honeymoon suite leave modern audiences waiting for a scare that never checks in?

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Release Details
Title: Hokum
Year: 2026
Director: Damian McCarthy
Writer: Damian McCarthy
Top Billed Stars: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Will O’Connell, Michael Patric, Brendan Conroy, Austin Amelio
Running Time: 107 minutes
Country of Origin: Ireland / United Arab Emirates
Official Release Date(s): World premiere at SXSW on March 14, 2026; U.S. theatrical release through Neon on May 1, 2026; UK/Ireland release also listed for May 1, 2026; some international markets, including Australia/UAE-related listings, show late April/May regional dates.

Other Notable Projects

Damian McCarthy — Director/Writer
McCarthy’s key context is Caveat and Oddity, both of which built his reputation around controlled spaces, eerie objects, folk/supernatural dread, and the sense that moral rot invites supernatural consequences. Hokum is the “next step” movie: bigger star, wider release, same basic fascination with guilt, enclosed locations, and fear that creeps in from the edges of the frame.

Adam Scott — Ohm Bauman
Scott brings a fascinating career split into this: beloved comic roles in Step Brothers, Party Down, and Parks and Recreation, plus darker dramatic work in Severance and now Hokum. The Washington Post specifically frames the film as Scott leaning into his “jerk” side while still using the vulnerability that has powered his recent prestige work.

Peter Coonan — Mal
Coonan gives the film local texture and suspicion, functioning as part of the Irish ensemble that keeps Ohm off-balance. For the episode, he is useful to discuss as part of the film’s “outsider enters a closed local ecosystem” setup — the people around Ohm are not just exposition machines, they are part of the threat environment.

David Wilmot — Jerry
Wilmot appears to be one of the film’s tonal wild cards. Reviews highlight Jerry as part of the movie’s off-kilter folk-horror personality, helping keep the film from becoming only gloomy grief horror.

Florence Ordesh — Fiona
Fiona is central to the mystery engine: her disappearance is what pushes Ohm deeper into the hotel’s secrets. That makes her less a side character than the story’s pressure point — the person whose absence forces the movie to move from creepy atmosphere into investigation.

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