My quick rating – 6.1/10. I was not expecting Dolly to slink out of the woods and politely ask if I wanted to take a brutal trip. So glad that she did. Made on glorious grainy 16mm film stock, the movie plays up its 70’s grindhouse, 80’s slasher aesthetic to such an extent that I expected to see tracking lines appear on my television screen. It perfectly captures that second feature at the drive-in feeling. A little sleazy, a lot unhinged, and absolutely not concerned with giving anyone a reason for the carnage. Served up just for us.
Our doomed couple, Macy (Fabianne Therese) and Chase (Seann William Scott), head into the woods for a hike, maybe a proposal, definitely a bad time. Walking off the trail is step one in “How to Become Horror Movie Protein,” and Dolly takes this to heart. Enter the monstrous figure played by Max the Impaler. Imagine a feral cryptid who watched Texas Chainsaw Massacre too many times and said “yeah, this is my personality now.”
The film chapters its chaos, starting with Mother, where we get the slightest taste of backstory. Just enough to whisper “something horrible happened here,” but not enough to ruin the mystery stew. Then comes The Daughter, where Dolly herself takes center stage. A silent, masked, porcelain-headed nightmare who moves like she’s permanently living in a different genre than everyone else. She stims frequently, clearly meant as a character trait, but viewers close to autism might not appreciate how the film ties that behavior to the “crazy killer” angle. It’s not mean-spirited, but it is…awkward.
What Dolly lacks in sensitivity, it makes up for in gleeful brutality. The practical gore is outrageous in the best possible way. There’s a moment that made me say “jaw-dropping,” and you’ll understand why after you see it. Just trust me, you won’t forget it even if you try. By Chapter 3 (Home), we’re deep in the family’s house of horrors, complete with a crib scene that belongs in a museum of bad ideas. From there, Father, Reunion, Fight, and Goodbye tear through what’s left of the cast and your ability to unclench.
Rod Blackhurst clearly worships at the altar of The Texas Chainsaw Massacre, and the film is packed with winks, nods, nudges, and an Ethan Suplee character named Tobe that practically announces, “Yes, we meant that reference.” Like Terrifier, there’s no motive, just murder as a family hobby. And sometimes? That’s exactly the kind of horror palette cleanser I want.
Stick around after the credits, because the door isn’t just open, it’s slightly ajar with a “maybe” sign taped to it. Dolly is absolutely a must-watch for horror fans who love messy, mean, grindhouse-soaked mayhem. Shut your brain off, lock your doors, and enjoy the ride.
