Two years on from the release of X (2022), Ti West has swiftly concluded his twisted trilogy of horror films. MaXXXine, a perfect title might I add, follows Maxine six years after the events of X, finally getting her big break out of porn and into Hollywood.
It’s been a wonderful ride seeing Ti West’s vision for this trilogy evolve with each instalment. What began as an homage to the 70s slasher then transitioned into a deep psychological thriller and has now been turned into an… investigative crime thriller? I have to admit I had no inkling on the tone or plot of this film, but based on the intense horror content of both its predecessors I had an idea of what this could be. As it turns out I was way off the mark – there’s some light slasher elements in here, particularly in how the film pays homage to 80s Hollywood, but this is a crime thriller through and through. Now I’m always one to enjoy a good thriller, but the drastic tonal shift that this film takes didn’t quite work for me. To put it simply the movie feels confused – it’s like it wants to be a slasher, but the narrative calls for a crime thriller, and so it bounces back and forth in an attempt to appease horror fans while servicing the story. I should clarify, there are both good thriller moments in here and good horror beats, but the merging of the two isn’t smooth. As a result this is by far my least favourite of the trilogy – I think Ti West’s vision is clear and Maxine’s arc ends in a satisfying way, but the whole vibe of the movie feels off. I’m all for trying something different, but I will call out when something doesn’t work.
Being part of a trilogy, there’s no doubt to be links to prior entries, and the way West connects this narrative back to X in order to develop Maxine as a character is brilliant. This isn’t as strong of a character study as Pearl was, which got very introspective, but we learn a lot more about Maxine, what drives her and how she’s grown. Every moment of the film is centred on Maxine, showcasing the strength of her character and how she overcomes obstacles that stand in the way of achieving her dream. She’s a fantastic protagonist, one who is easy to root for and shines in the spotlight. It’s ironic that her character strives to be a star, yet in a very meta way she already is. The story is intriguing and aptly entertaining, presenting a series of mysteries and horror sequences amongst the crime thriller angle. Piecing together the mysteries makes for a fun viewing experience, even if one of the central questions is painfully obvious. There’s a nice build to the pacing – it adopts a straightforward three-act structure with a climactic showdown that’s neat, though not all too impressive. While the tone is a risky approach, the structure is hardly something to write home about.
As is expected, based on the visual beauty of both X and Pearl, the cinematography is an artistic delight. Much like how Pearl is an homage to that 1930’s old Hollywood aesthetic, this is a very deliberate homage to 80s Hollywood. Every facet of this film has been crafted around that, from the setting to the costumes all the way to the editing and cinematography. I like that Ti West never half-asses his period pieces – he sticks as faithfully to the era of the narrative as possible in order to enhance immersion. Even the score, helmed by Tyler Bates, is full of 80s synth pieces and iconic 80s hits that are sure to appeal to any fan of the era.
Mia Goth has been at the forefront of each film in this trilogy, with so much of the narrative success hinging on her performance. While her work in Pearl is Oscar worthy, she’s still exceptional in here. Her ability to command the screen and have you transfixed on her at all times is exceptional to see. She has grown with the character and does a great job at selling her strengths and determination. At the same time, her subtle vulnerabilities are on show too – so much of her performance is limited to facial expressions and posture, and she nails it. The cast of this sequel also brings heavy hitters Kevin Bacon, Elizabeth Debicki and Giancarlo Esposito into the fold. All three tap into their acting experience to deliver engaging performances with a balance of great dramatic beats and quirky, comedic scenes. The fact that Goth outshines those big names is a testament to her growing prowess as an actor.
In the end, Maxxxine is hardly the film I anticipated it to be, but even if you take out the shock, the tonal shift isn’t well implemented. Part slasher and part crime thriller, this is a clash of the genres that doesn’t work all that well. The narrative and character study elements are engaging, and some of the mysterious vibe is effective, but overall the movie is just good. That may sound like a positive, but when you consider how well Ti West directed X and Pearl, this is a step backwards. Nevertheless, it highlights a brilliant Mia Goth performance and puts a nice cap on Maxine’s arc that links back to the events to X in a way that will appease fans.
6.5/10
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