Jay Rohr
Dolly aspires to take horror in a unique direction. Instead of bloody torture, its victims are often subjected to discomforting humiliations. Viewers will likely squirm during such cringe-inducing moments, while gourmands looking for the latest sloppy slaughter might not be disappointed. Still, that isn’t to say uniqueness is always a plus.
The film follows Chase and Macy played by Sean William Scott (American Pie) and Fabianne Therese (John Dies at the End). On the verge of engagement, the couple take a vacation out into the woods. There they encounter the nightmare inducing Dolly portrayed with menacing ease by professional wrestler Max the Impaler. Macy becomes the particular focus of this slasher, who treats her like a lost daughter, mothering her in ways hideously humiliating and punishing her escape attempts with brutal corporal punishment.
Dolly captures a visual aesthetic reminiscent of ’70s slasher classics. Shooting on 16mm, cinematographer Justin Derry provides something akin to The Devil’s Rejects (2005). The result is a visually grim feature that feels filmed through dead leaves and dirty ground. If it has any weakness, it’s simply not terribly original, though it is undoubtedly satisfying when it comes to sinister scenes. All in all, it’s a standardized horror style at this point because it’s highly effective.
Narratively, Dolly attempts some sharp turns in the middle. There’s a desire to inject some tragedy into the main murderer with implications of abuse as part of their slasher origin. At risk of spoilers, most of this stems from the introduction of a character played by Ethan Suplee (American History X). He hollers implicative bits while upping the bloodshed, but it doesn’t amount to much except a brutal exposition dump.
It’s a shame because this is when Dolly really has the potential to turn into something truly unique. Instead, it briefly trades one slasher for another before returning to its original trajectory. That specifically being the titular Dolly terrorizing Fabianne Therese. Whatever bizarre sympathy or empathy could have been established vanishes like smoke in the wind.
Fortunately, as far as final girls, the role of Macy is a proactive one. From the first frightful encounter, she doesn’t shy from fighting for her life. Even her displays of submission are clearly tactical moves. Dolly often seems like a test of will as much as a gory struggle for survival.
Meanwhile, there’s plenty of hideous imagery. Describing the best parts would mean unforgiveable spoilers. More than once I let out an exclamation of shock and gleeful disgust at certain instances. Oddly enough, the problem with the gore is that it sometimes feels insufficient. This is a slasher flick that could have used a few more bodies. Still, writer-director Rod Blackhurst composes several scenes that are worthy of urban legend, primarily the forest of dolls.
The main issue, though, is that like his previous picture Night Swim (2024), an intriguing idea never fully realizes its most captivating parts. The elements which could elevate Dolly into unforgettable excellence are eschewed for slasher basics. While this makes the movie fun for a Friday night fright flick, it doesn’t result in much more than a one-night stand.
Thankfully, the cast does a quality job. There isn’t much meat on the bones of these roles, but what’s there seems to have given them sufficient fodder. Sean William Scott plays a quiet father wondering if now is the time to make his current romantic partner a stepmother. Fabianne Therese portrays a young lady hesitant to assume such a role for her own reasons.
Consequently, there’s a whole metaphorical notion that wants to be clever subtext which Dolly never fully achieves. This is a movie as much about fear of family life, failing as a parent, as it is a slasher flick pumping nightmare fuel. Although the implications of such themes land, they don’t amount to much, neither adding nor subtracting to the overall picture.
Meanwhile, Max the Impaler does a solid job in the titular role. During their time in the National Wrestling Alliance (NWA), they earned the NWA World Women’s Television Champion as well as becoming the one-time NWA World Television Champion. Their career included time in Tokyo Joshi Pro-Wrestling (TJPW), where they acquired the Princess Tag Team Championship and the International Princess Championship. Such achievements seem obvious given how easily they throw around the two leads, and I have no doubt, if inclined, Max the Impaler could easily add to any other slasher role with expert ease.
The faults in the film aren’t crippling. Dolly hints at deeper material which it never utilizes or explores. That isn’t to say the feature needs to be some cerebral metaphorical examination of family; however, writer-director Rod Blackhurst clearly wants this to be more meaningful than the average mundane murder movie. When the story tries to shift, evoking sympathy for the slasher, nothing is done with the momentum to carry the audience into new territory. Instead, Dolly merely resets to the standard formula.
The use of humiliation rather than bloody torture is also an intriguing tactic that could have resulted in interesting outcomes. Such scenes induced a longer lasting disquiet than the flinches found in shredded flesh. So perhaps it’ll inspire some other filmmaker down the line to do more with the concept.
For now, Dolly sits squarely in the middle of the road. It’s a fresh fright flick with some satisfyingly unhinged moments which is always a better choice than watching the same old scares for the thousandth time. While the titular killer may not be on the road to iconic status, Max the Impaler may have found a new career path to explore. Dolly is ideal for horror fans looking for something new even if it doesn’t become a repeat fear feast. Folks outside of genre lovers might be less forgiving, so they should consider scrolling through what else Shudder has to offer, settling if nothing else catches their fancy.
