Fantastic Fest 2025 Review: DOLLY

Photo courtesy of Fantastic Fest

By Shannon McGrew

I have a love/hate relationship with dolls. I love them in the sense that they genuinely creep me out, but I also hate them for that exact reason. It’s a double-edged sword. Ultimately, I love the emotional high of being scared, so it usually works out in my favor. With DOLLY, I had hoped to experience that same rush of fear and unease. Unfortunately, this film feels more like an attempt to be the next Texas Chain Saw Massacre or House of 1000 Corpses, following similar beats, as well as the look and feel of the film, rather than carving out its own identity.

Directed by Rod Blackhurst (writer of 2024’s Night Swim), the film follows Macy (Fabianne Therese, John Dies at the End) and her partner Chase (Sean William Scott, The Wrath of Becky) on a hiking trip, where Chase plans to pop the question. But no sooner do they arrive at their spot than Chase hears music coming from the forest. In an attempt to locate the source of the sound, he comes across dolls of every shape and size hanging from trees and scattered throughout the woods. It’s when he comes face-to-face with a towering figure dressed as a life-size doll that he realizes the reality of the situation is far more horrific than either he or Macy could have imagined.

Where the film shines is in its production design. The spaces are crafted to convey a dizzying, claustrophobic sensation of being surrounded by dolls in various stages of disintegration. And these dolls are everywhere. It instantly reminded me of the Island of the Dolls in Mexico City, which is terrifying in its own right thanks to the way the dolls decay in the elements, and the local legend that gave the island its name. The film does a tremendous job of capturing the eerie sensation of being watched by hundreds of little eyes, a sensation similar to what people experience when visiting the Island of the Dolls. Additionally, the portrayal of Dolly by Max the Impaler is a standout. The childlike mannerisms, especially in the way Dolly moves, are deeply unsettling.

Where the film stumbles is in its story and pacing. For a movie that’s only 84 minutes long, it somehow feels endless, dragged down by too many lulls where little of consequence happens. Chase’s arc, in particular, is so implausible that it pulled me out of the film. What would have strengthened the story is a more fleshed-out backstory for Dolly. Not a full biography, but at least enough to move beyond the one-dimensional presentation we’re given. A glimpse into who Dolly is and what led her to become a “human doll” would have helped audiences connect and heightened the character’s impact.

DOLLY plays like a homage to classic slashers, with Leatherface being the most obvious inspiration. The film layers its modern setting with a grainy ’70s aesthetic to evoke grindhouse vibes, and even its ending mirrors The Texas Chain Saw Massacre. While it clearly aims for shock and awe, it needed more substance to deliver a lasting impact. That said, there’s potential here. Dolly has the makings of a great horror icon, and I’d be curious to see where Blackhurst takes the character from here.

DOLLY had its World Premiere at Fantastic Fest 2025.