It’s not often that I’m disturbed or even remotely squeamish when watching modern horror films, but Dolly undoubtedly succeeds at both. Co-writer and director Rod Blackhurst almost teleports audiences back in time with the distinctly grainy 16mm film used to capture the movie. In fact, if it wasn’t for a smartphone appearing on screen I would have believed I’d stepped straight back into the 70s, especially with the nods to yesteryear classics like The Texas Chainsaw Massacre scattered throughout.

The premise for Dolly is relatively simple. Chase (Seann William Scott) is taking his girlfriend Macy (Fabianne Therese) on a hike to a remote lookout where he plans on proposing. Romantic, right? Well it would be if the couple didn’t stumble across incredibly creepy dolls hanging from the trees in what becomes the first of many sequences designed to leave audiences deeply uncomfortable. And if the dolls alone aren’t enough to unsettle you, the spine-tingling jingle from a nearby music box that interrupts Chase’s big moment almost certainly will.

True to form for horror films, Chase ignores the most basic rule of survival and decides not to avoid the creepy, mysterious noise coming from the woods but instead investigate it. It goes exactly how you would expect as he stumbles across Dolly (Max the Impaler), a towering and hulking presence dressed in a pink dress but wearing the face of a porcelain doll that hides the figure’s true identity beneath. The look feels reminiscent of icons like Leatherface or Michael Myers and is more than capable of sending shivers down your spine.

It becomes very clear that Dolly is not to be messed with. Her brutality and savagery are evident from the outset, creating several torturous scenes as the film settles into more of a single-location feature. After kidnapping Macy, Dolly forces her into the role of her “child” in a disturbingly sadistic fashion. However, through some fairly strong narrative threads, Dolly’s deep-seated trauma becomes apparent and the twisted mother and child dynamic she attempts to create with Macy becomes somewhat understandable.

Dolly is undoubtedly at its best during the gory kill sequences which, thanks to some fantastic practical effects, deliver a brutal and visceral experience that will have audiences watching through their fingers. In fact, the technical aspects of the film are rather impressive across the board. The sound design and visual presentation are particular standouts, made even more impressive by the shoestring budget the production had to work with.

The film is also elevated by several very enjoyable performances, most notably from Fabianne Therese, whose character endures an ordeal made all the more believable by her commitment to the role. Max the Impaler, in their first role outside the wrestling arena, cuts a dominating figure. Given that the character is non-verbal, remaining so imposing and genuinely unsettling throughout is very much to their credit.

Admittedly, despite Therese’s performance, the supporting characters outside of Dolly never feel especially fleshed out. The brief 83-minute runtime makes it difficult to develop them fully, meaning they often feel less like people you should care about and more like plot devices or simply Dolly’s playthings. For some viewers that may prove a little off-putting.

While Dolly is a fun and enjoyable horror film, it doesn’t necessarily do anything you haven’t seen before. Dolly as a villain also unfortunately won’t go down as one of the genre’s most memorable figures, particularly when the inspiration behind her is so clear. That said, if you’re looking for a horror film packed with blood, gore, and some very entertaining kills, Dolly will be right up your street and well worth a watch.