The story centers around two girls trying to escape the cycle of crime and poverty. The movie does a good job portraying the sense of despair. American dream is just an illusion and in some ways a trap. At times both girls appear sympathetic, but their actions are inexcusable. In the end, they dig themselves into much deeper hole out of which there's no escape.
43 Reviews
Simple Review
andrewgrgtwn5 July 2020
My wife and I gave this film a go even though the ratings were low 4s and we're both glad we did!
The story, acting, direction and cinematography were all at a very high standard.
My wife and I both gave this a well earned 6/10 and advise you to ignore the low scores it's a very good independent movie that we both recomend.
Dark and depressing
Jimmy_JimJim18 April 2020
Worse than I expected
dazzlingseem18 April 2020
What, how much are these reviewers being paid lol.
dlbott11 April 2020
Ok, if you have thousand reviews and you rate this 9 of 10 no one should believe a word you say, ever lol... it is obvious you are getting paid for good reviews lol...
look, it's sad... maybe it plays in India or where ever lol.. but this does not pass for film making here in America lol.
If you just have time to waste and need some sleep, oh who doesn't right now, then go ahead... that is if you can watch for free... don't waste money on it, you just be very upset after lol...
And for gosh sakes, if you going to play something in America put hard coded english subs in it lol....
If you want the rainbow, you got to put up with the rain.
nogodnomasters4 May 2020
Warning: Spoilers
Two girls work as maids at the Tides Plaza Motel in upstate NY (?). They steal a brick from one of the customers. Cynthia Nixon runs the motel and is not honest either. Things escalate.
The film was okay. Geetanjali Thapa did not have a convincing role as Riz. Most of the filming is in motel rooms. No real background scenery. Dallas (Olivia DeJonge ) was an interesting character that wasn't utilized to potential.
Guide: F-word, sex, brief nudity.
The film was okay. Geetanjali Thapa did not have a convincing role as Riz. Most of the filming is in motel rooms. No real background scenery. Dallas (Olivia DeJonge ) was an interesting character that wasn't utilized to potential.
Guide: F-word, sex, brief nudity.
Indie Thelma and Louise
jybeachem25 April 2021
Warning: Spoilers
This was a ok movie for what it was. It made no sense with the young woman from India going between innocent, victim, badass, easy to manipulate, take charge type, blaming others and then killing in cold blood. The movie happens because she let a girl pull a knife on her and forces her to steal. But her backstory of stealing and actions later in the film make you question how the skinny insecure "American girl" could have scared her to do something when she was always the one running things(murders, disposing of bodies, robberies and sexual acts). They where a more violent version of Thelma and Louise. Also the ending where she is dreaming they made it and are actually being chased by cops is unbelievable. No criminals are gonna call the cops on other criminals when it could hurt them also.
Accent is terrible
marchbehalfcainvideo2 May 2020
Olivia, you really need to work on your 'Sutherrrrn' drahhhhl'. As a fellow Aussie, a totally unconvincing Southern US accent was enough for me to abandon this movie. Shame, as it looks like an otherwise terrific film.
An actual critics honest review
Top_Dawg_Critic11 April 2020
Never mind the 'unnecessary' phony high reviews and lame smh "you can tell this movie is bad just by the cover photo" low ones. As a critic with over 900 reviews and 1000 ratings (click my username), I will explain why this film is a gem and undeserving of the current 5.4 IMDb rating. I was going to pass on this one because of the low rating, but after seeing the trailer, and reading praise from 'professional' critics from the New York Times, Los Angeles Times and Hollywood Reporter, I gave it a viewing. Wow is all I can say.
For starters, it's no big budget Hollywood blockbuster with A-list actors put together by seasoned filmmakers - you can't compare this film that way. Instead, it's a low budget indie film by newb up-and-coming filmmakers. Writer, director and producer Sonejuhi Sinha makes her first full-length feature film debut with Stray Dolls, previous experience being only three short films. Her writing, alongside novice producer and writer Charlotte Rabate - who also makes her full-length feature film debut with this film, came up with a gritty crime thriller story that primarily takes place in a seedy motel. Although the narrative never really explodes, this crime thriller story is still gritty, suspenseful, emotionally driven and with an unexpected natural tone and profound sense of realism. I'm not a fan of slow paced films, but when each scene is relevant to the story, and isn't long and dragged out, time flies as you're constantly engulfed in the plot. The 97 min run-time was perfect. The directing was spot on with excellent cinematography especially with the color tones in the night-time environment. The seedy motel sets were on point in setting the stage for America's frayed social fabric chasing the American dream. The casting was decent with convincing performances from DeJonge and Thapa as disenfranchised young women determined to seize control of their lives on their own terms. For a B-grade film, the score was surprisingly very fitting, appropriate at the right scenes, and mended well with the well-chosen soundtracks.
Mad respect and props to Sonejuhi Sinha and her entire cast and production team in putting together such a gem. Sinha is certainly one to watch as an up-and-coming filmmaker. It's a well deserved and honest 9/10 from me.
For starters, it's no big budget Hollywood blockbuster with A-list actors put together by seasoned filmmakers - you can't compare this film that way. Instead, it's a low budget indie film by newb up-and-coming filmmakers. Writer, director and producer Sonejuhi Sinha makes her first full-length feature film debut with Stray Dolls, previous experience being only three short films. Her writing, alongside novice producer and writer Charlotte Rabate - who also makes her full-length feature film debut with this film, came up with a gritty crime thriller story that primarily takes place in a seedy motel. Although the narrative never really explodes, this crime thriller story is still gritty, suspenseful, emotionally driven and with an unexpected natural tone and profound sense of realism. I'm not a fan of slow paced films, but when each scene is relevant to the story, and isn't long and dragged out, time flies as you're constantly engulfed in the plot. The 97 min run-time was perfect. The directing was spot on with excellent cinematography especially with the color tones in the night-time environment. The seedy motel sets were on point in setting the stage for America's frayed social fabric chasing the American dream. The casting was decent with convincing performances from DeJonge and Thapa as disenfranchised young women determined to seize control of their lives on their own terms. For a B-grade film, the score was surprisingly very fitting, appropriate at the right scenes, and mended well with the well-chosen soundtracks.
Mad respect and props to Sonejuhi Sinha and her entire cast and production team in putting together such a gem. Sinha is certainly one to watch as an up-and-coming filmmaker. It's a well deserved and honest 9/10 from me.
Promising Debut
benjamin-enkler13 April 2020
Warning: Spoilers
I had a chance to see this film at its Tribeca premiere. Between an exceedingly hot, crammed theater, predictably obnoxious casual audience members (at least in my section) alternating between their phones and conversation with who they were attending with, a picture that suffered from a somewhat older projection bulb, and not the greatest sound, there was a lot working against a proper viewing. That said, I left with pretty positive marks about Sinha's debut film. I imagined I'd watch it again someday under more agreeable circumstances. In terms of lazy, number reviews, I would have dropped a 6-6.5. It was fine.
We all have those films that, on first viewing, for whatever assortment of reasons, don't fully land. Off the top of my head I can think of Steve Jobs, The Martian, The Boxer, Mission: Impossible Ghost Protocol. I put Stray Dolls in this category. I left feeling glad I'd seen it for general reasons, but wasn't much thinking about it after a week, like the aforementioned movies. But every now in then this little flicker in my head would remind me of it, and seeing it on Amazon to purchase the other night, I was immediately compelled.
I am grateful for this because I can comfortably say what I've learned about these other films: I failed them. Not the other way around. My home viewing of Stray Dolls, distraction free, gave me something special. Rich, lush imagery, sometimes reminiscent of visual darlings like In the Mood for Love or Capernaum, heighten, but never make artificial, the reality of where this is set: a Podunk Nowhere-Town in upstate New York. Every now and then a touch of The Place Beyond the Pines struck me. The coldness and hopelessness of the area permeates.
Stray Dolls presents an unfortunately very real depiction of the immigrant story in the North East. The insidious oppression, often by other immigrants pretending help. The dehumanizing those who clean the hotels, seen as objects to control with paltry amounts of money. The utter lack of protections. The loneliness. This movie lands.
Cynthia Nixon, who I found distracting in a bad way my first viewing, is actually not that at all. She gives a solid, exhausted 'villain' turn, and it works. She is still fighting for this illusion of an American Dream, and has a corrupt dingy hotel business to show for it. She finds ways to keep advantage over others, isn't against exploiting the less fortunate, makes ends meet in corrupt ways, but still is desperately trying to find happiness, even if its in a lonely drunken night of karaoke.
With respect to her and the other talent, this film lives on the shoulders of Geetanjali Thapa. Riz is excellent. She has a quiet calm about her, only lost when she's locked herself in a phone booth or a bathroom. Often times characters like this have some kind of decorated-but-secret military background a la Man From Nowhere, Man on Fire. While not as 'special forces', Riz's past is enough to shake the wannabe's around her. She is a dose of reality to her peers who think they are hard, but only truly learn to be after shared experiences with her. Thapa can miss her family on the phone, kill, share tender moments, and be outright vulnerable without 'switching' character. She is consistently believable throughout the story. She keeps our focus.
Elegantly is how this film plays. It isn't in a rush. People won't like this, but I do. But it captivates, is never jarring, feels elegantly tied together, and is buoyed by a haunting minimalist score. It's also about people we pretend not to see living lives that we don't want to know about because we want to feel happy. People won't like this either. I found it very strong. If you are into, say, Nadine Labaki's Capernaum, or the Safdie Brother's films, you're in good company here. Truth be told, as a debut feature, I found it far more impactful than Heaven Knows What. A big fan of the Safdie Brother's films, but Sinha has a soulfulness to her work that they aren't really doing. Her voice is distinct and I look forward to it getting bigger.
We all have those films that, on first viewing, for whatever assortment of reasons, don't fully land. Off the top of my head I can think of Steve Jobs, The Martian, The Boxer, Mission: Impossible Ghost Protocol. I put Stray Dolls in this category. I left feeling glad I'd seen it for general reasons, but wasn't much thinking about it after a week, like the aforementioned movies. But every now in then this little flicker in my head would remind me of it, and seeing it on Amazon to purchase the other night, I was immediately compelled.
I am grateful for this because I can comfortably say what I've learned about these other films: I failed them. Not the other way around. My home viewing of Stray Dolls, distraction free, gave me something special. Rich, lush imagery, sometimes reminiscent of visual darlings like In the Mood for Love or Capernaum, heighten, but never make artificial, the reality of where this is set: a Podunk Nowhere-Town in upstate New York. Every now and then a touch of The Place Beyond the Pines struck me. The coldness and hopelessness of the area permeates.
Stray Dolls presents an unfortunately very real depiction of the immigrant story in the North East. The insidious oppression, often by other immigrants pretending help. The dehumanizing those who clean the hotels, seen as objects to control with paltry amounts of money. The utter lack of protections. The loneliness. This movie lands.
Cynthia Nixon, who I found distracting in a bad way my first viewing, is actually not that at all. She gives a solid, exhausted 'villain' turn, and it works. She is still fighting for this illusion of an American Dream, and has a corrupt dingy hotel business to show for it. She finds ways to keep advantage over others, isn't against exploiting the less fortunate, makes ends meet in corrupt ways, but still is desperately trying to find happiness, even if its in a lonely drunken night of karaoke.
With respect to her and the other talent, this film lives on the shoulders of Geetanjali Thapa. Riz is excellent. She has a quiet calm about her, only lost when she's locked herself in a phone booth or a bathroom. Often times characters like this have some kind of decorated-but-secret military background a la Man From Nowhere, Man on Fire. While not as 'special forces', Riz's past is enough to shake the wannabe's around her. She is a dose of reality to her peers who think they are hard, but only truly learn to be after shared experiences with her. Thapa can miss her family on the phone, kill, share tender moments, and be outright vulnerable without 'switching' character. She is consistently believable throughout the story. She keeps our focus.
Elegantly is how this film plays. It isn't in a rush. People won't like this, but I do. But it captivates, is never jarring, feels elegantly tied together, and is buoyed by a haunting minimalist score. It's also about people we pretend not to see living lives that we don't want to know about because we want to feel happy. People won't like this either. I found it very strong. If you are into, say, Nadine Labaki's Capernaum, or the Safdie Brother's films, you're in good company here. Truth be told, as a debut feature, I found it far more impactful than Heaven Knows What. A big fan of the Safdie Brother's films, but Sinha has a soulfulness to her work that they aren't really doing. Her voice is distinct and I look forward to it getting bigger.
Surprising gripping thriller
moviebuff-9158311 April 2020
Not sure why the reviews are so mixed but I found this surprisingly gripping and a fun ride. The leads are unusual and captivating, especially Riz, who really draws you in. Dallas and Riz have an electric chemistry that really starts to cook by half way through. The plot has some unusual twists and surprises that heats up by the third act. I was hooked and recommend it both as a fun watch and maybe even something that sticks with you a little longer than the usual thriller.
Strong performances by all
mcanelly-8651311 April 2020
Warning: Spoilers
Sinha's directorial debut is a taut, intimate story about the dark side of the immigrant experience. We view this through the eyes of a young woman who manages to enter the US hoping for a better life through honest work. Her hopes are ground to pieces by the actions of those who most definitely do not have her best interests at heart. Although she develops a friendship with her initial tormentor, the relationship leads to tragic consequences for both. Excellent work from all including the director, cinematography and the cast.
Provocative and layered
zabour-3556711 April 2020
I loved the ambiance and feel of this movie. The excellent direction and cinematography captured the environment not only of the seedy world of the motel but also the inner world of its characters. Hard to believe this is the director's first feature film. I look forward to seeing more from this director.
Really good!!!
wongieteam12 April 2020
Beautiful picture, great performances
catherinerouleau-2290712 April 2020
Saw this at TRIBECA film festival. First of all the cinematography is gorgeous here and the colors eerie. For me what took the cake was the performance from the main character - an illegal immigrant (from
India?) who's hopes for the American Dream get crushed by the seedy underbelly of middle America's greed and opioid desperation. Her character starts off a helpless victim before her true strength shines thru... well done!
one of the better road movies
durhammoviefan12 April 2020
Stirring debut feature from an original voice
azbour11 April 2020
This film is a bold and original debut feature for Sonejuhi Sinha. It confidently treads new ground by reimagining the motel noir through a female, immigrant-centric lens. It has a powerful message but is not overly didactic - instead it takes you for a fun, increasingly intense ride. The direction is sophisticated and the music choices are great.
Goody
oojebbieoo3 January 2021
Gripping, Taut and Topical Female-Driven Thriller
millercarolineh8 March 2020
Stray Dolls is a taut, suspenseful and engaging thriller from rising-star director Sonejuhi Sinha. When Riz, a 20-something Indian immigrant looking to start over in the USA, arrives at the Tides Plaza Motel looking for honest work, it soon becomes clear that the American Dream isn't universally granted to everyone, and she's soon pulled back into a life of petty crime with Dallas, her volatile but determined roommate.
Sinha's careful attention to lighting, color and tone can be seen in every shot, which lends the film a sense of coldness that deepens the viewer's unease.
The desperation of its characters makes the film hum with a sense of urgency that can be unsettling in a powerful way, as it forces the viewer to examine the comforts that we take for granted by inheriting an ingrained sense of belonging in this country.
Geetanjali Thapa infuses Riz with a cynicism born of world-weariness, but it is Olivia Dejonge's Dallas who steals the show with a combustibility that is electrifying to watch. While both of them could have easily come across as familiar tropes of the naïve immigrant and damaged teenage runaway, Sinha masterfully examines these tropes by cracking them open.
We don't have many examples of female-driven, seedy crime thrillers, and it's important to recognize that even in 2020, almost thirty years after the release of Thelma & Louise, we still have very few female antiheroes whose we can feel good about rooting for even as we're watching them be bad.
Sinha's careful attention to lighting, color and tone can be seen in every shot, which lends the film a sense of coldness that deepens the viewer's unease.
The desperation of its characters makes the film hum with a sense of urgency that can be unsettling in a powerful way, as it forces the viewer to examine the comforts that we take for granted by inheriting an ingrained sense of belonging in this country.
Geetanjali Thapa infuses Riz with a cynicism born of world-weariness, but it is Olivia Dejonge's Dallas who steals the show with a combustibility that is electrifying to watch. While both of them could have easily come across as familiar tropes of the naïve immigrant and damaged teenage runaway, Sinha masterfully examines these tropes by cracking them open.
We don't have many examples of female-driven, seedy crime thrillers, and it's important to recognize that even in 2020, almost thirty years after the release of Thelma & Louise, we still have very few female antiheroes whose we can feel good about rooting for even as we're watching them be bad.
Heartwrenchingly Good
anumvalliani12 April 2020
Let me start by saying none of the characters are inherently "good", but I couldn't help but root for Riz and Dallas. Stray Dolls definitely paid homage to Thelma and Louise - but was darker and grittier. This isn't one of those feel-good movies, and also not a hyper-violent/slasher film trending these days, but the complexity in the characters and the nod to the bold statements and criticism on the American Dream is what reels you in and leaves you with that pit in your stomach by the end. I could even see similar themes to those found in Parasite. Regardless, love that this was a female-centric crime narrative by a clever new director, and super excited to see more from her ahead!
Impressive cinematography, beautiful movie
giggsoy10 April 2020
Gripping thriller exposes underbelly of American dream
nzbourke11 April 2020
This suspenseful thriller grabbed my attention from the outset until the final getaway scene. Olivia DeJonge and Geetanjali Thapa bring their characters to life, skillfully portraying their disparate backgrounds, shared dreams and flawed attempts to escape the reality of their seedy hotel existence. Sonejuhi Sinha's cinematography is richly colored and nuanced. Sinha's directorial debut is a winner. Can't wait to see more from this rising star!
Sinha announces herself as a daring, raw and original voice
geniusofthesystem10 March 2020
Sonejuhi Sinha emerges on the scene with her bold debut feature STRAY DOLLS announcing herself as a daring, raw and original voice in filmmaking. She subverts viewers' expectations with her own take Thelma & Louise, creating a taut, stylish thriller filled with empowering and emotional performances from the striking leads.
Taut drama
lawnmower-665115 March 2020
This is a surprisingly taut crime drama presented in a dark, art noire style. The script is dark and funny, and surprising because all the nice folks turn out to be badass (trying not to give too much). There are no victims here because the victims, despite their innocence, take matters into their hands and decide to punish the wrong-doers. The pace is tight and recklessly eventful.
An absolute must-see
jbourke-6212212 April 2020
Not sure who these trolls are leaving bad ratings (they aren't bothering to actually review it) because this is objectively a very good film. It's a beautiful love story, a gripping crime thriller, and a very powerful take on the American dream.
This movie isn't a blockbuster that will scream for your attention. Its beauty is in the details... the tight script writing, strong character development, and the love that went into the lighting and every inch of the set. It transports you to a seedy motel where the buzz of neon lights gets into your damn head, and the two main actresses deliver stunning performances that make it impossible to turn away.
Most importantly, Stray Dolls delivers a take on the American dream that will leave you thinking for days. It leaves a blurry line between the choices the characters make and a society that left them with no choice.
I absolutely recommend this film and hope people take the time to give it the attention it deserves.
This movie isn't a blockbuster that will scream for your attention. Its beauty is in the details... the tight script writing, strong character development, and the love that went into the lighting and every inch of the set. It transports you to a seedy motel where the buzz of neon lights gets into your damn head, and the two main actresses deliver stunning performances that make it impossible to turn away.
Most importantly, Stray Dolls delivers a take on the American dream that will leave you thinking for days. It leaves a blurry line between the choices the characters make and a society that left them with no choice.
I absolutely recommend this film and hope people take the time to give it the attention it deserves.
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