Dolly Review
Once in a while, it feels like we need a horror film that genuinely makes us uncomfortable in the most compelling ways possible. That seems to be the case with icon-centric horror movies, like classics like Jason, Freddy, and Michael Myers to new ones like Art the Clown. However, it also feels rare for an indie horror movie to have an antagonist who can truly make you scared. Fortunately, with Dolly, it successfully gives you a slasher villain who’s not just terrifying, but also monstrous in the most disgusting way possible. To put it simply, think The People Under the Stairs meets Leatherface meets Cabbage Patch Kids and this is that movie.
Dolly follows a couple-to-be-wed as they take a wildlife vacation before they get officially married. However, the soon-to-be wife, Macy (Fabianne Therese) gets abducted by a mysteriously monstrous captor (Max the Impaler) who wants to make Macy into their child. Trapped in a decrepit house in the middle of nowhere, Macy must do what she can to escape this terrible situation before it’s too late.
The concept of the “killer entrapment” horror movie isn’t out of the ordinary and it’s made clear where director Rod Blackhurst’s inspirations come from. Visually, the consistent grainy film aesthetic helps keep you engaged in the film’s world, reminding you that it is going to be very violent. There’s this combination of both focused and linear shots with more shaky, lingering moments that fill you up with the right amount of dread. In the chase scenes, the close-ups and heavier shots are really reminiscent of Texas Chainsaw Massacre, in a good way.
However, narrative-wise, Dolly really knows how to utilize its themes in ways that are easily understood. It makes it clear from the very beginning, in a scene of doubt between Macy and her partner Chase (Seann William Scott), that it’s about the struggles and circumstances of being a parent. At its core, it wants to answer this question: “what makes a good mother?”
Initially, it’s almost played off in a stereotypical way, but as the film gets into the grittiness of the killer-hunter’s game, this idea becomes very apparent. Amidst the awkward “playdates”, revolting breastfeedings, and more, this thematic exploration is done in the most apparent way it can. For those that want to be thoroughly disgusted, then this presentation will be good for you.
Instead of the usual three-act setup, Blackhurst splits up his film into multiple chapters, subtly hinting at what happens between Macy and her captor. While some of these “chapters” are shorter than others, it ultimately works out in the end as there’s ample time for each section to build that tension. Each gruesome encounter that Macy and her over-protective killer have got more and more messed up, which doesn’t even begin to include what happens with Chase.
Performance-wise, both Therese and Max the Impaler are equally amazing as they carry Dolly’s story on their shoulders. Therese gives Macy a sense of urgency and emotion that emphasizes the character’s role as a final girl despite the abuse and pain Macy takes on. There are a few specific moments, which are contained within the second act chapters, that insert this empowerment into Macy as she tries to fight back and Therese fully takes charge with it.
As for Max the Impaler’s take on their inspired performance as Dolly, this antagonist is extremely intimidating in their own right. The film, to its benefit, never downplays Dolly’s immense size and it’s good to see that it respects the star as well as the character. They really shine in those moments that just linger too long on Dolly’s face, especially when they start breathing so closely or aren’t moving. It successfully makes you drop that wall of confidence only to make you jump out of your seat (with a bit of those stingers as well.) Both of these actors prove their worth in these roles and do a great job overall.
In its own deranged and disgusting way, Dolly will keep you hooked and scared as Rod Blackhurst’s inspired vision fully pans out in this satisfying indie grindhouse horror film. With all the blood, scares, and moments of shock that Dolly has, it certainly makes for another great addition to the roster of indie horror movies with standout icons to remember.
Dolly had its world premiere at Fantastic Fest 2025 on September 21.
Rating: ★★★★
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Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.