(FANTASTIC FEST) “DOLLY” (2025): A Final Girl’s Fight Against Horror’s Next Icon
Courtesy of Fantastic Fest
Fantastic Fest has a reputation for unearthing the next big thing in horror, and this year’s lineup might have just revealed a future icon in Rod Blackhurst’s “Dolly”. While other titles arrived with the usual anticipation and buzz, “Dolly” quickly became the word-of-mouth sensation of the festival. It is a gnarly, blood-soaked survival tale that manages to feel both reverential toward its horror lineage and shockingly fresh. This isn’t just another masked killer movie. This is a movie that will gleefully crawls under your skin, rips it open with ferocious strength, and dares you to keep your eyes on the screen even when every instinct is screaming to look away.
The movie’s story follows Macy, a young woman who is abducted by a deranged, monster-like figure intent on raising her as their child. The movie is billed as “a daring blend of New French Extremity and 1970s American horror,” and that description couldn’t be more accurate. The result is a nightmare stitched together from two of the genre’s most brutal traditions: the nihilistic cruelty of French shock cinema and the raw, dirty grit of American exploitation. It’s a premise that feels simple on paper, but under Blackhurst’s direction, it transforms into something ferocious, relentless, and unforgettable.
Fabianne Therese deserves every ounce of praise that’s been sent her way since the movie’s premiere. Horror has always thrived on its Final Girls, but Therese makes Macy stand apart. She isn’t just reactive, running and screaming from danger; she’s methodical, sharp, and tough as nails. The performance balances intelligence with vulnerability, making her survival feel earned rather than forced. When she squares off against Dolly in the movie’s escalating set pieces, Therese commands the screen with a kind of controlled chaos that instantly cements her place among the genre’s best heroines. Horror fans will walk away remembering Dolly’s porcelain and emotionless face, but they’ll also be buzzing about Therese’s resourceful, steel-nerved performance.
Another standout of this movie is of course Dolly herself. The design alone is a masterstroke of nightmare fuel. With the porcelain doll mask gleaming under dim light, the stiff and frilly outfit smeared in blood, the towering presence that turns domesticity into terror. If Leatherface made us terrified of chainsaws and Ed Gein-inspired flesh masks, Dolly does the same for porcelain toys and the aesthetics of a large collection of dolls. There’s a surreal quality to watching this hulking figure holding a headless corpse or mannerisms in a warped, childlike cadence while committing atrocities. It’s grotesque, unnerving, and most importantly, memorable. Horror thrives on its villains, and Dolly feels like the kind of character who could fuel sequels, prequels, and endless Halloween costumes.
Of course, a movie like this can live or die on its gore, and “Dolly” doesn’t skimp for a second. From the moment Macy is dragged into the nightmare house, Blackhurst unleashes a symphony of splatter. Gore from Macy fighting back or a head crushing kill are staged with gleeful excess. Bloody mush spill onto the floor with squishy sound design, and every stabbing, slicing, and bludgeoning lands with impact. It’s a reminder that practical effects, when handled by skilled artists, carry a texture and weight that CGI never can. The violence here isn’t just gratuitous, it’s artful in its execution, blending New French Extremity’s raw savagery with ‘70s horror grit. By the finale, the walls of the house feel soaked in history. Each blood splattered mark on clothing or Dolly’s fingers are another stroke in this movie’s deranged masterpiece.
The supporting cast deserves just as much attention as the carnage. Seann William Scott, often remembered for comedic roles, is a revelation here. He throws himself into his character with a grim determination, spending much of the runtime buried under practical effects makeup. The result is a layered performance that feels both terrifying and oddly sympathetic, a nod to the tragic complexity of death like Billy Hitchcock from “Final Destination”. It’s not just the casting of a known face in cinema, but a genuine showcase of Scott’s range as an actor. Horror fans will likely be shocked at just how effective he is in this space.
Ethan Suplee makes an outsized impact in a smaller role. Without giving away too much, his brief appearance leaves a crater in the story. Suplee carries an intimidating presence that crackles with physical menace. Even in the limited screen time he has, he demonstrates why his career has endured across genres throughout the decades. Watching Scott and Suplee in this bloody sandbox feels like a gift among the fans who have followed their work. It is a reminder of how seasoned actors can elevate material, turning what could have been stock roles into something magnetic.
Of course, I would be a fool not to mention Max the Impaler, a performer whose larger-than-life screen presence blends seamlessly with the grotesque tone of the film. Their contribution to the cast adds another layer of unpredictability, ensuring that “Dolly” never feels like it’s leaning too heavily on familiar faces. Every actor here seems fully committed to Blackhurst’s vision, no matter how depraved or demanding the role.
Courtesy of Blue Finch Films
Cinematography is another area where “Dolly” flexes its horror fueled muscles. Blackhurst and his team embrace shadow and claustrophobia, turning the remote house into a character of its own. The set design is immaculate: decaying wallpaper, flickering lights, cracked dolls staring from shelves, and hallways that feel like they’re closing in on Macy with every step. Each frame is saturated with tension, balancing grime and beauty in a way that recalls the best of exploitation horror while feeling distinctly modern. The camera never shies away from brutality, but it also lingers on small details. The crack in Dolly’s mask, Macy’s trembling hands gripping a weapon, blood soaking into any place it lands that builds atmosphere beyond the splatter.
Costume design deserves equal praise. Dolly’s porcelain mask is destined for horror legend status, but the accompanying doll-like outfit frills, bows, and makes the figure unforgettable. The juxtaposition of innocence and grotesquerie is perfectly unsettling. It’s easy to imagine horror fans clamoring for replicas and cosplays within the year. Like Michael Myers’ mask or Ghostface’s iconic white face with black hood, Dolly’s attire is simple yet iconic. It is the kind of instantly recognizable silhouette that fuels a franchise.
What makes “Dolly” feel truly special, is how it positions itself within horror history. It wears its influences proudly. New French Extremity’s brutality, ‘70s slashers’ rawness, and even a dash of modern survival horror, but it never feels derivative. Instead, it builds on the past to carve out something new. That’s why the buzz at Fantastic Fest has been so intense. Among a lineup of daring genre experiments, “Dolly” stands out not just for its gore or shocks, but because it feels like the birth of a new horror icon. Competitors may have delivered polished scares or clever gimmicks, but few films at the festival inspired the same mix of awe and dread that this one did.
By the time the credits roll, audiences are left rattled, exhilarated, and maybe even eager for more. “Dolly” doesn’t just suggest the potential for a franchise; it practically demands it. There’s too much lore hinted at, too much raw terror bottled in that porcelain mask, for this to be a one-and-done horror movie. Horror fans are always searching for their next great villain, and with Dolly, they may have found it.
In the end, “Dolly” is more than just another genre exercise, it’s a blood-soaked announcement that Rod Blackhurst has arrived as a major force in horror filmmaking. With phenomenal performances, unrelenting gore, unforgettable visuals, and a villain tailor-made for nightmares, it’s the kind of movie destined to be talked about for years. If Fantastic Fest prides itself on showcasing films that will leave the competition trembling, “Dolly” has set the bar frighteningly high.
Whether it’s slashers in the woods, ghosts in the attic, or killers in the cornfield, ILHM Reviews brings you the frightful horror flick recommendations worth watching. Follow us on Instagram, be sure to listen to the the "I Love Horror" podcast and remember that if you’re a true fan of horror, every night can be a FRIGHT NIGHT!
