Cinema Reviews: Hokum (2026) and Obsession (2025)
It is a testament to the continued popularity and money-making ability of the horror genre that it is now receiving prime release dates throughout the year at the multiplex cinemas. While Halloween is a favoured release period for horror films at the cinema, as well as the many streaming platforms, the genre is now a staple of the spring and summer schedules. Two films released within a week of each other, namely, Hokum (2026) and Obsession (2025). While both films differ in themes, it kind of made sense to offer a dual review.
*** MAY CONTAIN SPOILERS ***
Hokum (2026)
Directed and written by Damian McCarthy
Main cast: Adam Scott, Florence Ordesh, Peter Coonan, David Wilmot
& Michael Patric
Damian McCarthy’s previous film Oddity (2024) was a genuinely unnerving mix of ghostly, vengeful and creepy doll manifestations. While drawing on familiar horror elements it felt fresh and is definitely recommended. McCarthy’s new film, Hokum (2026) is similarly unsettling and slow burn in approach, however, the narrative elements are far more recognizable. Indeed, Adam Scott is Ohm Bauman, a grizzled and successful writer suffering from creative block. So-far-so-Stephen-King. In an attempt to break his inertia he takes a trip to rural Ireland to lay-to-rest his parents ashes, while also dealing with a festering childhood trauma.
The blocked writer overcoming grief and trauma within the ghostly trap of an old building, in this instance a hotel, has been done many times before. Yet, Damian McCarthy is an ultra-talented director and he creates atmosphere, startling images, shivering scares and a pervading sense of dread throughout. The main issue I had was Scott’s Ohm is unlikeable and I did not really care if he lived or died. I cared even less that he finished the novel he was working on. The most empathetic character, Fiona, meets an early demise becoming a plot point and victim, despite Florence Ordesh’s memorable screen presence. Overall, Hokum (2026) contains some fantastic visuals and chilling moments despite not wholly reconciling the themes of grief, ghosts, witches, toxic masculinity, guilt, trauma, murder and nefarious hotel staff.
Mark: 7.5 out of 11
Obsession (2025)
Directed, written and edited by Curry Barker
Main cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless & Andy Richter
Another horror film and another ultimately unsympathetic male protagonist where late-twentysomething, Bear (Michael Johnston), finds himself deservedly terrorised by a primal and horrific cycle of events. Unlike the confident, Ohm from Hokum, Bear is a low-self-esteem-Beta-male who is obsessed with, but “friend-zoned” by his work colleague, Nikki. Unfortunately he is so crippled by shyness he cannot ask her on a date for fear of rejection. When Bear desperately makes a wish using a “One Wish Willow”, (monkey paw equivalent), his desire for Nikki to “love him more than anything in the world” completely backfires as she succumbs entirely and frighteningly to the wish. While I empathised with such romantic anxiety it’s incredibly painful to watch.
But that is Curry Barker’s thing! He is committed to creating as many awkward, sickening and shocking moments as possible. He takes this horror / gag set-up and runs the plays ensuring the conceit gets sicker and sicker with each scene. Using Inde Navarrette’s phenomenally psychotic performance, gross bodily outpourings, satanic smiles, and severe moments of self-harm Barker delivers terror of the highest order. His use of shadowed figures, head-smashing violence and sound effects especially created a heady mix of nervous laughter and palpable tension. My main criticism is that many scenes were TOO dark and I could not see the characters. Yeah, I know I this was deliberate but it’s a recent lighting style many cinematographers choose that I really dislike.
Zach Cregger, the Philippou brothers and now Curry Barker have moved from short film, sketch, viral video and comedy content to the horror genre with incredible success. Sudden shocks, surprises, and powerful punchlines work brilliantly for both comedy and horror although, of the three, the Philippou brothers have delivered the more emotionally resonant films compared to Cregger and now, Barker. Still, Barker’s propensity for sickening gore and humour is to be admired. Further, the true horror is in Barker’s exploration of toxic masculinity and the desire to trap femininity. The place where Nikki’s consciousness was imprisoned is where the resonant evil of Obsession (2025) truly remains.
The Cinema Fix presents 