With a demand for movies at a runtime of 90 minutes or less, due to what might be the most inconvenient work shift ever, of 1 pm to 9 pm, Dolly came at the perfect time. Directed by and co-written by Rod Blackhurst (Night Swim and Amanda Knox), this harrowing new release follows a young woman who is abducted and held captive by a deranged figure, disguised by an effectively fractured doll mask.
Dolly channels the relentlessly raw style of The Texas Chain Saw Massacre, and more generally speaking, cult 70s horror. However, while it’s even shot on film, it lacks some of the nuance that made Tobe Hooper’s classic so good. What we have with Dolly is simply horror for horror’s sake. It exists purely to disturb and terrify, so there’s no point in questioning how this hellscape has managed to go undiscovered, despite existing in what seems to be less than a mile off the beaten track in a national park.
I’ve lost my taste for this brand of horror over recent years, but I figure this might be a more digestible serving, which it ultimately was. I didn’t love it, but I didn’t hate it, but anything that’s set in the woods is typically a draw for me. Mainstream horror fans will likely respond more favourably to Dolly, which, to the film’s credit, does succeed with all intent and purpose.
Sean William Scott co-stars alongside the film’s main victimised protagonist, Fabianne Therese, but is left slack-jawed over the whole situation. With a minimum cast, performances are generic with a copious amount of screaming and begging, which are often drowned out by the manic ‘Leatherface’ energy from the titular monster.
Dolly hits theatres across Australia from March 12, following its U.S. theatrical debut, through Monster Fest, in partnership with IFC and Shudder and in collaboration with Event Cinemas and Village Cinemas.
DOLLY
(2025, director: Rod Blackhurst)
★★★
stills courtesy of Monster Fest
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