According to psychologists, dolls are among the most important in childhood, as it helps to socialise children in their formative years.

Generally girls get dolls that are baby-like, and need taking care of. And boys get ‘action figures’, who they can throw out of windows, and run them over with bikes. Now that’s socialising for you.

This horror film brings the doll concept into the adult world, in quite a gruesome fashion.

Dropping his daughter off at his sister’s house is Chase (Seann William Scott); he’s taking his girlfriend Macy (Fabianne Therese) out into the country for a special occasion, as he plans to propose to her there.

As they’re walking through the woods, they notice a number of children’s dolls attached to trees, making Chase think it may be some kind of art project.

But as they soon discover, it’s no art installation, it’s far more sinister, when they are greeted by the robust Dolly (Max the Impaler), whose intentions to ‘look after’ Macy gets very hands on.

Director Rod Blackhurst’s film, based on a short he made, is about as far away as you can get from being an original horror flick. Although the character of Dolly is ridiculously presented, like a quirky drag costume with an infant kink, the story is essentially a couple encounter a house of horrors in the woods.

And it’s this homage of sorts that the director heavily leans into, with a feature that clearly has the DNA of the likes of 1974’s The Texas Chainsaw Massacre, so much so that Dolly could be their next door neighbour.

It’s not the only throwback connection this low-budget film has; when it comes to violence, it relies on old-school special make-up effects rather than CGI. The result is certainly visceral, and reminiscent of classic horrors of years past, as Dolly wields her deadly spade.

It can take a while to warm to it, with the absurdity of Dolly’s appearance, which is quite laughable, and won’t be inducted into the horror icons hall of fame any time soon, but when you get past it – which admittedly will take a while – its old school charm just might win you over.

Blackhurst’s direction is tight, and the cinematography and art direction are impressive, doing a lot of the heavy lifting of the dubious script.

And it’s difficult to say if the inclusion of Scott, and My Name is Earl’s Ethan Suplee, is an indication of the current status of their careers (it undoubtedly is), but having a few familiar faces doesn’t do any harm.

Max Lindsey AKA Max the Impaler, the American professional wrestler, certainly makes an impact – in her silly costume – but at least she has the anonymity of her mask to save any embarrassment she may have playing the part. It’s certainly not going to be a springboard to a Dwayne ‘The Rock’ Johnson type of career, that’s certain for sure.

As a horror spectacle, this low-budget affair surprisingly succeeds on the whole, with its retro feel and life-like gruesome effects, which horror aficionados may well want to pick up and add to their collection.