Since Ti West first introduced us to Maxine Minx in 2022’s X, the character and franchise have lived rent-free in my head. With an audacious bloodfest, West paid homage to the legendary Texas Chainsaw Massacre while creating a thematic template for what would become a spanking new horror trilogy. Following X came Pearl, which took us back to 1918 and offered an origin story unlike any other within the horror genre. Led by an incredible Mia Goth performance, I assumed this was the final chapter in the series. That was until a teaser took us to Tinseltown and a final entry set in 1980s Hollywood.
As someone who has not been shy about professing my love for the 80s horror craze, seeing Ti West and Mia Goth sink their teeth into that world had me tickled to pieces. Among the glitz and glamour of Hollywood, Ti West’s MaXXXine did not accept a life she did not deserve! Elevating the genre to new heights with its X-ceptional practicality, cinematography, and 80s aesthetic, the film cements West’s X Trilogy as one of the best bestowed upon the horror genre. A video nasty for all us horror freaks.
MaXXXine reenters Maxine Minx’s life years after the massacre in Texas. Now living in gritty 1980s Los Angeles, Maxine is out to become a star in Hollywood as she juxtaposes her fame within the adult film industry with her first starring role in the horror film, The Puritan II. As she preps for her big chance at stardom, Maxine must deal with ghosts from her past reentering her life, while the Night Stalker killer lays waste to LA.
Once again, Ti West writes and directs MaXXXine with precision and ambition. West’s screenplay dives into themes of exploitation, corrupting influence, and the price of fame. In a similar fashion to David Lynch’s Mulholland Drive, West explores the toxicity that comes with stardom and the sacrifices that must be made to succeed. Never losing sight of Maxine’s humanity, West crafts not just a story of growth but a blood-soaked noir that blends slasher with giallo.
Elliot Rockett’s cinematography stuns as he creates a visual style that not only pays homage to the neon-soaked era of the 80s but captures the gritty craze of the Night Stalker era, where fear rampages through the streets. Often bringing memories of New York City in Taxi Driver, Rockett’s lens completes the trilogy with three uniquely different and effective looks. For those looking for gnarly kills, the film delivers in spades with effects mirroring 80s slasher gems. One kill, in particular, is sure to make Dario Argento smile; the blood and guts never overstay their welcome but are incredibly effective when implemented.
The throughline with X, Pearl, and now MaXXXine is the sensational Mia Goth. She’s not just a star; she’s a FUCKING MOVIE STAR. Captivating and astonishing as our final girl, Goth brings the raw intensity that has made her performances within the trilogy some of the best in the genre. Goth is able to capture Maxine’s vulnerability and ferocity with ease, and with this final performance in the trilogy, Goth stands as a horror icon.
While the supporting cast is star-studded, it’s Kevin Bacon who shines brightest. Bacon understood the assignment and came to play with a barrage of over-the-top line delivery and sensational villainous ick. Elizabeth Debicki remains dependable, while Giancarlo Esposito and Moses Sumney deliver in their minor roles.
MaXXXine does suffer from a third-act hiccup that, while predictable, may turn off cinephiles as it lends itself to the more conventional rather than the audacious nature the trilogy has been known for. Despite that bump, MaXXXine is a romp and a fitting and compelling conclusion to a trilogy I will forever hold in high regard, and one that received the life it certainly deserved.
