这部电影最妙的地方在于——它用一种近乎病态的静谧感，将日常的玩偶异化成了令人窒息的梦魇。这种“两个破碎人互相喂毒”的互动，比反派宣言更扎心。演员的表演也着墨在“克制的疯”：大卫演的玩具店老板眼神总盯着顾客的领口，像在数藏在衣领里的秘密；赫尔佳·丽列饰演的母亲把对女儿的占有欲熬成了粥，煮得滚烫却端上桌时面带微笑。镜头总爱停在洋娃娃苍白的脸、线缝裂开的嘴角，搭配雨打窗户的滴答声，吓得人不敢眨眼睛。这并非一部靠廉价惊吓取胜的片子，它更适合那些偏爱老派心理惊悚、能从静默与细节中捕捉恐惧的资深影迷。赫尔佳·丽列演的老板娘罗莎更妙，她说话时总把布偶抱在膝头，指节发白的力度比任何台词都吓人——你永远猜不到她怀里的玩偶是“道具”还是“藏着什么”。

Paul was raised as a girl after his sister died. He has been collecting dolls ever since.　　But that has left him troubled and he was unable to cope with the pressure of a medicine degree.　　He now returns to his home town to work as a gardener at a local mansion. But after he arrives, murders start to happen.　　Is he responsible or are the answers in his nightmares

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