Dolly: A Gnarly Throwback Grindhouse Slasher (Early Review)

Based on writer-director Rod Blackhurst’s 2022 short film ‘Babygirl,’ Dolly, written, produced, and directed by Blackhurst, also had its world premiere at last year’s Fantastic Fest Film Festival. The film follows Macy (Therese) and Chase (Scott), a couple who venture into the woods for an afternoon hike where Chase, meanwhile, planned to propose to Macy. However, after finding dolls and occult displays scattered along the way, the couple encounters Dolly (Max Lindsey), a deranged and monstrous figure who incapacitates Chase and abducts Macy. Taking her to a secluded house in the middle of the woods, the intent of Dolly was to raise Macy as if she was her own child. A grimy, gross, and gory throwback to grindhouse flicks of the 70’s, Dolly makes for a rather entertaining viewing experience in spite of its issues, but also one that arguably lacks in replay value.

Blackhurst does a great job evoking the feeling of a 1970’s grindhouse horror in how Dolly is filmed, edited, and through its overall atmosphere. If it didn’t feature modern day actors and technology, this could almost pass as something that would have been released in the 70’s or 80’s, and it makes audiences feel a lot more uneasy for it. Helming the set pieces well, Blackhurst keeps the tension and suspense high as the film progresses. Not holding back on the violence whatsoever, and it isn’t afraid to get down and dirty when it wants to be. While there isn’t an overabundance of kills, the few the film offers up are very creative, bloody, and utilize some gnarly practical effects for the most part, making them all the more effective.

Self-aware, the film has a grasp on what it is and doesn’t try to be anything that it isn’t. It is definitely carving its own path, but it also wears its horror influences on its sleeve as it pays homage to a lot of old school and modern day horror classics. Running at just over the 80-minute mark, its short runtime flies by, not wasting a single moment. Similarly, its performances are quite solid with Therese making for a likeable lead as Macy and Scott makes the most of his limited screentime as Casey. On the other hand, Lindsey (otherwise known by her wrestling name of Max the Impaler), as the titular Dolly, uses her imposing presence to create such a terrifying presence that can be felt throughout, whether on screen or not.

That’s not to say that the film was not without its issues, as there is certainly a feeling that Blackhurst an co. could have taken things even further which might not be fair to say given its supposed low budget and limited resources at its disposal. Pushing those missed opportunities aside that can be used in another installment should this film do well enough, it is a fairly predictable ride, and the inclusion of chapters was certainly a baffling choice, considering they spoil events and key moments that occur over the course of the story. While Macy is likeable, she makes her fair share of questionable decisions, seemingly for the purpose to prevent the story from coming to an immediate end. Though a fairly common element of horror films, the film implements it to a frustrating degree.

Dolly might not be the next horror classic and the titular character may be far from the next slasher icon for now, but it still delivers a decent horror flick that does a terrific job at recapturing the vibe of a 70’s grindhouse picture with solid performances, a creepy villain, and some nasty gore work to boot. A film that definitely won’t be for everyone, for slasher junkies looking for their next fix, this one is worth checking out in theaters this week.

still courtesy of Independent Film Company and Shudder

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Connor Carey

www.connorsmoviereviews.com/