MaXXXine

Maxxxine is a film I have eagerly anticipated since it was teased as the final installment of Ti West's X trilogy. Having thoroughly enjoyed the first two films, I had high hopes for this one. Each film in the series brings a unique style that represents the period it’s set in. 2022’s X was a gritty homage to the brutal horror films of the 1970s, with The Texas Chainsaw Massacre being a major influence. The same year, Pearl offered an even more stylistic approach, serving as a prequel with influences from the silent era and visual nods to The Wizard of Oz. These distinct stylistic choices set a high bar for Maxxxine. In Maxxxine, we follow the lone survivor of the farmhouse massacres depicted in the first film. Now a bit older and blonder, Mia Goth’s Maxine is still striving to become Hollywood’s next biggest star. She finally lands a role as the lead in a new horror film, but her past begins to catch up with her. She is pursued by a sleazy private investigator, played by Kevin Bacon, who works for a vicious killer targeting Maxine’s closest friends. Concurrently, Maxine must navigate the terror of the Night Stalker, who is haunting Los Angeles, while detectives try to unravel her connection to these events. Maxxxine is a beautiful love letter to the horror films of the 1980s. Ti West draws influence from many great horror filmmakers of that era. One scene in particular, where Maxine ascends a staircase toward the film’s climax, is reminiscent of the cinematography of David Lynch films from that period. This meticulous attention to style and atmosphere enhances the film’s nostalgic appeal. Mia Goth is truly fantastic, bringing depth and intensity to her role. Her performance is a highlight of the trilogy, showcasing her versatility as she navigates multiple characters and complex emotional landscapes. For example, her portrayal of Maxine’s relentless determination and underlying vulnerability adds layers to the character, making her journey compelling and relatable. While Maxxxine is a strong entry in the series, it is, in my opinion, the weakest installment. The film serves as a fitting conclusion to the trilogy but leaves some unresolved threads from X. I would have appreciated more closure regarding the events of the first film, as the connections feel somewhat superficial. Additionally, the reveal of the main antagonist, while surprising, feels somewhat detached from the overarching narrative. For instance, the motivations and background of the killer are not as deeply integrated into the story as they could have been, leading to a somewhat disjointed climax. Despite these criticisms, Maxxxine is a well-crafted horror film that offers plenty of nods to genre aficionados. Ti West has created a trilogy that honors the horror tradition while bringing fresh and innovative storytelling to the table. The film is rich with familiarities from 1980s horror, making it a nostalgic yet refreshing experience. Mia Goth’s performance ties the trilogy together beautifully, and her portrayal in Maxxxine cements her status as a standout in modern horror cinema. While the film has its flaws, it remains a fitting and enjoyable conclusion to a remarkable series.

Despite her rather florid past, the eponymous porn star (Mia Goth) is determined to make it in the mainstream and seems well on her way when director "Elizabeth Bender" (Elizabeth Debicki) casts her as the lead in the sequel to her own successful first feature. Whilst this is all going on for "Maxine Minx", there is a serial killer on the loose in Los Angeles and the police seem to think that maybe she is involved. Obviously she's not the perpetrator of these vicious acts, but might she somehow be the ultimate target? A rather curious meeting with private eye "Labat" (Kevin Bacon) suggests that she might want to go a mysterious address where she might learn the truth, but she has her own ideas so with the help of her agent/manager/enforcer "Teddy" (Giancarlo Esposito) and a car crusher sets up quite a perilous face-off with a man in black gloves who lives behind a set of green doors. At times this is quite an attitudinal film and Goth does fine, but (no pun intended) Bacon just hams it up too much. Debicki seems totally disinterested in her role and the rest of the cast add very little to a story that is too thinly stretched to pad out one hundred minutes before taking us to a rather weak and rushed denouement. Beware: I sense a sequel might be in the pipe, as if we don't already have enough mediocre slasher fayre on offer already!