Dolly Review: Grindhouse style meets extreme brutality in this twisted fairy tale.
If your taste in horror skews toward the gritty, sweaty, and unapologetically nasty side of the 1970s, then Rod Blackhurst’s Dolly is a film that deserves a spot on your watchlist. This new 2026 horror film wears its influences on its blood-soaked sleeve, channelling the dread of The Texas Chain Saw Massacre and the surreal vibe of Tourist Trap to create an experience that feels like a long-lost grindhouse relic. However, unlike a simple imitation, Dolly carves out its own identity through sheer brutality and an uncompromising vision.
The setup is deceptively simple: a couple’s romantic hike through the Tennessee woods takes a violent turn when they encounter the titular character, played by pro wrestler Max the Impaler. Described by the filmmakers as a blend of New French Extremity and 70s American horror, the film quickly abandons realism in favour of a waking nightmare. Blackhurst, known for the documentary Amanda Knox, pivots hard into fiction here, proving his ability to craft tension whether the camera is rolling on reality or pure fiction.
Fans of the grindhouse horror movie aesthetic will find plenty to admire. The film, shot on location in Chattanooga, nails the grainy, visceral texture of the era. It is less concerned with jump scares and more focused on unsettling the audience through practical effects and psychological torment. Yet, as Hope Madden’s review points out, this dedication to style is a double-edged sword. While the atmosphere is impeccable, the narrative often sacrifices logic to keep its nightmare fuel pumping. For those willing to forgive plot holes in favour of pure sensory assault, Dolly is a fascinating, if frustrating, addition to the indie horror landscape.
Dolly Review: A Grindhouse Horror Fairy Tale That Goes for the Jugular
A Horror Movie review by Hope Madden
Fans of Savage Seventies Cinema, rejoice. Filmmaker Rod Blackhurst channels The Texas Chain Saw Massacre, Tourist Trap, and even a little bit of Ted Post’s 1973 freak show The Baby for his wooded horror, Dolly.
Macy (Fabianne Therese) and Chase (Seann William Scott) hike through the woods to a breathtaking overlook where Chase will pop the question. But they probably should have turned back at the first sign of those baby dolls nailed to the trees.
Soon enough, they meet Dolly (Max the Impaler, that’s quite a name), an enormous person whose whole noggin is hidden inside a cracked ceramic doll’s head. Dolly has a shovel, puts it to unusual use, and soon enough it’s just Dolly and her new baby, Macy, back at Dolly’s house.
Blackhurst nails the look and vibe of a 70s grindhouse horror show. And it’s not just tone, it’s also the content. Dolly gets nasty. Blackhurst intends to horrify you far more than frighten you. Whether it’s blood or body fluids or rancid food stuffs or broken bones that trip your gag reflex, he’s aiming to find it.
Ethan Suplee—you remember, the happy singing football player from Remember the Titans–cuts a far more intimidating presence as Daddy, and you can’t help but wonder about the backstory here at Dolly’s place. Kudos to Blackhurst, who co-writes with Brandon Weavil, for keeping it ambiguous.
Yes, if it’s an indie Seventies horror aesthetic you’re after, and logic and common sense are of less importance, then Dolly is for you. But if you crave one single scene of realistic behavior, the movie comes up short.
Therese can’t be blamed. She does what she can, her attempts at carving a heroic character are in and of themselves heroic. But Macy’s every action is made exclusively to further the plot and never, ever to create a believable character. If you have a tough time watching a person constantly abandoning weapons along with common sense, this film will frustrate you.
The excellent grindhouse violence and style are only equaled by the utter and distressing ridiculousness of the plot. So, even Steven, I guess.
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