MaXXXine

With 2022's 'X' and 'Pearl,' Ti West created two extremely entertaining, wickedly clever horror comedies, honouring two specific types of films. 'X' is a homage to- and pastiche of- 1970's grindhouse tropes, most obviously 'The Texas Chainsaw Massacre,' while 'Pearl' is a like a warped, 1950's Technicolour melodrama, like the cinematic child of Walt Disney and Dario Argento. Both films are prime examples of satire, successfully implementing elements of the object they are satirising without becoming that object themselves.

With 'MaXXXine,' the newest addition to the 'X' franchise, West aims to send-up giallo and exploitation films of the late 70's, as well as the video nasties of the 1980's and Hollywood set slashers in general. Taking place in 1985, six years after the events of the original, the film follows Maxine Minx, who is trying to make a go of it in the pictures. After landing her big break, she is blackmailed by someone threatening to reveal her participation in the 1979 massacre. Meanwhile, the Nightstalker roams the streets, and Maxine's friends are dropping like flies. Will Maxine finally become a star, or be forced to live a life she doesn't deserve?

Enjoyable though narratively uneven, visually, 'MaXXXine' dazzles, recreating the neon-soaked decadence of mid-1980's Los Angeles. However, beneath its glossy surface lies a narrative that lacks the bite, wit and unpredictability of its predecessors. Although entertaining, at times the film threatens to become that which it is satirising- a schlocky Hollywood slasher. West incorporates many familiar elements of 80's movies- bickering cops, an over-the-top villain, a seedy P. I., shootouts- but these seem more like cliches than effective satire, as their inclusion lacks any kind of fresh spin or commentary.

In 'X' and 'Pearl,' every detail was meticulously calculated, purposefully included to heighten the emotion of any given scene. Here, it feels as if West tossed in tropes just for kicks, leaving one wondering about their purpose. Effective satire dances on the edge, teasing its subjects without falling into their traps; 'MaXXXine' wobbles- sometimes clever, other times clumsy. Perhaps West's intention was to blur the line between homage and parody. But in doing so, he risks losing the very essence that made his earlier films shine.

Additionally, supporting characters are underwritten, lacking depth or personality. There are no reasons to care for any of them, as the majority aren't on screen for long enough to leave any kind of impact. Those that are start off as cliches- a no-nonsense director, a lascivious Southerner, two cardboard cut out cops- and then proceed not to change. Considering West's brilliant characterisation in previous films, it's rather disappointing.

As is the exceedingly underwhelming final act, which boils down to a forgettable gunfight. Moreover, the identity of the villain will only come as a surprise to someone who has never seen a film before. Conversely, the character of Maxine Minx is still compelling; her determination, resilience and unwavering pursuit of stardom keeps one engaged. She's an unstoppable force, refusing to fade into the shadows, that one cannot help but root for.

Furthermore, West and cinematographer Eliot Rockett do sterling work, emphasising the seediness of the City of Angels, where devils prowl down grimy alleyways. Moreover, they cleverly weave video aesthetics into the fabric of the film itself. Grain dances across the screen, a nod to VHS tapes and late-night cable channels, while de-focused shots blur the line between reality and fantasy, hinting at Maxine's hidden past. It's a visual language that speaks to those who remember tracking lines and rewinding cassettes, compounding the film's heady atmosphere.

In addition, Jason Kisvarday's detailed production design is successful at immersing the viewer in the ostentatious 1980's, where everything was bigger and brighter than before or after. Mari-An Ceo's costume design, alongside Kelsi Ephraim's set decoration, contributes to this immersive effect, while Tyler Bates' evocative, synthesised score wouldn't feel out of place in an 80's Brian De Palma or J. Lee Thompson vehicle, and the soundtrack- making great use of tracks from the likes of ZZ Top and Kim Carnes- is stirring.

Mia Goth's commanding central performance as Maxine is where the film's greatest strength lies. As in her two previous collaborations with West, her intrepid character shows through clearly. Goth is not afraid to go all out and risk being called over-the-top. Surely, after all, with material like this, she's meant to be grandiose? Even in it's weakest moments, Goth keeps 'MaXXXine' from becoming uninteresting; remaining a pivotal figure in modern horror cinema.

Opposite her, Kevin Bacon is excellent as the aforementioned sleazy, Southern P. I., making a one-note character arguably the most entertaining in the picture. Elizabeth Debicki does assured work as the director who gives Maxine her big break, though the role doesn't give her much to play with. Giancarlo Esposito is clearly having a ball in the all-too small part of Maxine's agent, while Michelle Monaghan and Bobby Cannavale are all but wasted as the cops; getting nothing to do but doing it well.

Ti West's 'MaXXXine' is an entertaining comic-horror, but lies in the shadow of its predecessors, which were considerably more cohesive, original and accomplished. Despite striking visuals and a stirring score, its narrative underwhelms, teetering between clever and clunky. Although Mia Goth and her supporting cast- most notably Kevin Bacon- do strong work, unfortunately 'MaXXXine' falls short of exxxcellent.

Shoutout to the filmmakers for a great trailer because that's about where the greatness ends.

This film has a pretty solid start for the first 15-20 minutes that seems to set the tone, but it abandons that tone along the way pretty fast. The plot is lackluster and does nothing at all to make you care about any of the characters other than Maxine. Although, sometimes, Maxine is insufferable. Several of the decisions she makes in the movie do not make sense and are incredibly inconsistent with the character.

EVERY "twist" in the movie's plot is predictable if you've watched more than 10 movies in your lifetime.

Kevin Bacon was awesome as usual. That's the only reason I gave this a 3.

"MaXXXine" is a direct sequel to "X" (unlike "Pearl" which sort of stands alone). In it, Maxine Minx gets a role in a legitimate film called "The Puritan 2" (a sequel to "The Puritan") and is anxious to finally become a real star. However, her past from the events of "X" start to catch up to her when a detective (who is working for a mysterious man) finds her, and among the backdrop of the "Night Stalker" slayings in Los Angeles, people around Maxine are starting to die...

"MaXXXine" is far the weakest of the three "X" films. That's not to say it's bad, but it doesn't have the real horror and novelty of "X" and the "can't look away" suspense of "Pearl." The person behind everything is pretty obvious, and there are really many threats that are simply too quickly and easily resolved, so much of the suspense is limited. Goth is great, as always, but there really isn't anybody else in the cast that really stands out. And there is a real lack of actual "horror" in this movie. "X" was a great, flat out horror movie. "Pearl" was more horrifying, perhaps, as opposed to pure "horror." But I'm not sure "MaXXXine" really qualifies as a "horror movie" at all. And the ending... meh.

I have no hesitation recommending "MaXXXine" -- the story is interesting, Ti West is a wonderful filmmaker, Maxine Minx is a great character, and Mia Goth is great in the role. But as is the case in more trilogies, the first is clearly the best and each one decreases in quality.

Mia Goth is great, Kevin Bacon is very good as a sleazy PI, Debicki is also good, the cinematography, costumes, sound and soundtrack are good as well. But the storyline is dumb, the last 15 minutes or so are ridiculous and not in a fun way. The movie seems a bit cheap, probably they worked on a tight budget. We don't see much of the 1980s Hollywood or LA, it doesn't say much about the moviemaking business, nor is it a good thriller, horror or psychological drama. It's bits of all these things, but convincing at one. Mia Goth is a true movie star though. Excellent actress, gorgeous too, she's the reason why I give it 5 stars instead of only 3.

I was waiting for the third movie from this franchise but i was kind of disappointed!

"X" and "Pearl" were really good and with lots of suspenseful scenes, gory scenes and darker tone!

This one was a little bit more of a thriller drama with some good '80s soundtracks but it's lacks the feelings of suspenseful and scary mood. The killing scenes could be more brutal and much bloodier. There's blood but mid level. There's action but mid level. It's more like a slow burner of who dunn it and the twist at the very end was kinda predictable if you ask me.

Mia Goth remains one of the greatest young actresses of her generation, she's gorgeous. I was pleased by Esposito and Bacon.

It's a 6 out of 10 from me! "X" remain my favourite and "Pearl" the next!