In the 1970s, horror films had a reputation for two things: poor writing and a knack for terrifying audiences. While that’s not quite fair, it did reflect a culture that favored style over substance. Rod Blackhurst’s film, *Dolly*, is a modern take on this tradition, blending old-school horror with today’s technology. The plot is hard to summarize without making it sound silly, yet the viewing experience is often gripping.
We meet Maci (Fabianne Therese) and her partner Chase (Seann William Scott) as they drop off their child, Evie, at daycare before heading to the woods for a romantic getaway. But the journey quickly takes a dark turn. They encounter dolls stuck to trees and a disquieting music box playing a nursery rhyme. It sets an eerie tone right away.
The couple bickers playfully, but Maci’s discomfort is palpable. When Chase insists on exploring deeper into the woods, she warns him not to stray from the path. This moment highlights how we often cling to superstitions in wild places. As genre fans might recognize, the rules of caution are crucial in horror settings. If they can’t even reach their cabin, they’re already in trouble.
Before long, Maci is lost among the dolls choking the landscape. The film’s low camera angles and lush colors create a disorienting effect as Maci frantically runs through the woods. We can sense her impending doom. Much of the film is set in a fantastically eerie house in the woods, which, despite its stunning design, feels increasingly menacing. Maci wakes in a giant cradle, trapped in a nursery dominated by the film’s formidable antagonist, a towering woman played by Max the Impaler. In a twist, she hears a man’s voice from behind a wall urging her to play along.
The horror is intensified by the unsettling parallels with how some treat infants—not just with care, but also through force. Maci’s captor, portrayed as a tragic figure, evokes sympathy even as she commits horrific acts. This complexity invites viewers to root for both characters, blurring the line between villain and victim.
The film unfolds in episodes, each more disturbing than the last, resembling a relentless nightmare. Maci’s resilience builds tension, transforming the film into a psychological duel between her and her captor. Blackhurst keeps viewers on edge, making them want to look away while also compelling them to watch more.
*Dolly* is big, bold, and surreal. It may not adhere to realism, but it taps into deep-seated fears of hidden, skewed realities lurking in the woods. This uneasy atmosphere grips the audience and doesn’t let go.
Recent studies show a resurgence of interest in horror films, particularly those that explore complicated relationships and psychological themes. According to a survey conducted by the film research site Box Office Mojo, horror movies that tackle deeper emotional issues are gaining popularity, with 35% of viewers preferring narratives that mix fear and complex character dynamics. This shift illustrates a growing appetite for stories that challenge traditional horror tropes, much like what *Dolly* achieves.
