Dolly REVIEW: This generations Texas Chain Saw Massacre
This week I attended an early screening of the upcoming horror film Dolly, in fairness this was my second viewing after catching it at Fantastic Fest last year. However it's been quite a bit of time since then so I wanted to double dip and see if it was all I remembered it being, or if it was just those rose colored film festival glasses.
Dolly is directed by Rod Blackhurst with a script written by Rod Blackhurst and Brandon Weavil. The film is independently produced and stars Ethan Suplee, Fabianne Therese and non-binary wrestler Max the Impaler as the titular Dolly. The film follows Tobe (Ethan Suplee) and Macy (Fabianne Therese) on a hike through the woods when things take a dark turn, leading the couple into a dollhouse for hell, with Macy trying to escape from a murderous woman dawned in a porcelein mask. The film was shot in the woods of Tennessee with what had to be a grueling number of set days, as evident with the films “no thanks to the mosquito population” mention in the end credits crawl.
One of my favorite aspects of the film was its visual style, the entirety of the movie is shot on 16mm film giving it that gritty 1970s edge. So much so that I couldn't help but compare it to 1974s The Texas Chainsaw Massacre, and trust me, this won't be the last time I make that comparison. The film also strikes a great balance on its gore, the films violence carries realistic grit while still maintaining a theatrical flair. Jaws, heads, and even nipples are ripped and torn, no part of the body is safe here. Even as a seasoned horror fan who isn't shy about gore, there were a handful of moments in this film that had me squirming in my seat while grinning ear to ear. Blackhurst proclaims the film draws from fairy tales, backwoods mythos and new French extremity, it wears its love of 70s grindhouse sleaze on its sleeves.
Fabianee Therese's performance as Macy is nothing short of intense, her palpable fear and terror as she escapes a dollhouse from hell is something to behold. Her intensity as she runs through the woods attempting to flee the baby faced fury was reminiscent of Marilyn Burns performance in Sally, a display that is worthy of scream queen status. On the other side of the coin, Max the Impalers performance as the masked menace Dolly is one of raw intensity. I'd go as far as to say their performance is the closest I've seen replicating Gunnar Hansens iconic performance as the original Leatherface. Max the Imaplers ability to go from a funhouse mirror image of a mother trying to love her "child" to an unchained monster ripping through mandibles and cutting off limbs is as entertaining as it horrifying. Through Max's performance, a new horror icon is born.
Courtesy of IFC and Shudder
Another aspect of the film I appreciated that not many have talked about is how Rod Blackhurst and Brandon Weavil subtly weaved together some lore with our doll faced pursuer, shedding some light on some potential backstory without fully pulling back the curtain. In a world where its easy to show your whole hand and remove every aspect of mystique from the villain of your story, some tactically placed dialogue to give us a glimmer of context without fully pulling back the curtain goes a long way. This also made me really excited for what to expect in a potential sequel.
Speaking of the possibility of a sequel, stay through the credits. Aside from the fun song written for the film and performed by The Babyboys, the film does have a post credit scene.
Overall, Dolly is an old school grindhouse nightmare, reminiscent of drive in movie horror shows of the mid 70s. It's a mean, gritty and scrappy little film that leaves a lasting impression. For fans of independent horror, grindhouse gore, and films like The Texas Chain Saw Massacre, I urge you to give this one a watch.
Dolly is now playing in theaters and will be available on Shudder later this year.
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