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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
Following the successful releases of the A24 horror films X and Pearl, both in 2022, horror filmmaker Ti West returns with a concluding chapter to bring these stories together, MaXXXine. This new slasher film crafts a new cross-genre narrative for horror fans. Whereas Pearl was more of a dramatic psychological horror and X sort of a mysterious horror thriller, MaXXXine introduces a neo-noir crime plot as Maxine Minx (Mia Goth) is essentially threatened with blackmail and revenge pornography, which could mean the end of her career as an up-and-coming star. The third film in the trilogy holds a different tone and atmosphere to differentiate itself from its predecessors, yielding new results.
MaXXXine is written and directed by Ti West (The House of the Devil, The Sacrament).
In this review, I will discuss Ti West’s MaXXXine. As this article’s title suggests, no spoilers will be present.
A24’s MaXXXine Synopsis
According to A24, here is the synopsis for Ti West’s MaXXXine.
In 1980s Hollywood, adult film star and aspiring actress Maxine Minx finally gets her big break. But as a mysterious killer stalks the starlets of Hollywood, a trail of blood threatens to reveal her sinister past.
A24 Press
Discussion
MaXXXine is an accomplishment in several ways, but it also feels incomplete in the narrative it aims to fulfill. West, casting director Jessica Kelly, and casting associates Laura Feldman and Stacey Rice bring in some of the most attractive faces in the industry today. Moses Sumney, Lily Collins, and Halsey are present in two or three scenes each, and unfortunately, that’s pretty much it for them. Giancarlo Esposito, Michelle Monaghan, and Bobby Cannavale have larger roles, yet they are not given enough to do within the story. By comparison, West’s film relies more on its leads, Mia Goth, Elizabeth Debicki, and Kevin Bacon.
Viewers may think they know what they are signing up for, but the payoff in the end is unexpected. There are clues in the prior two films that hint at the main antagonist’s identity in this third movie. Moreover, this antagonist is connected to a common theme that ties all three entries together. It’s almost as if watching the finale of a Star Wars trilogy or even Wes Craven’s Scream 3. With MaXXXine, specifically, the path for the title character veers off in another direction. It is an underwhelming course of events. However, some redeemable qualities may keep it from being the worst of the year’s horror titles.
This A24 film is dedicated at the end of its post-credits crawl to the trilogy’s late producer, Kevin Turen (Assassination Nation, Malcolm & Marie, Euphoria), who passed last November due to heart failure. Special thanks also include the cast of X, music composer Graham Reznick, and filmmaker Edgar Wright.
Late-Twentieth Century Aesthetics…
A lot can go wrong with Maxine’s past coming back to haunt her, and rightfully so, they do. For one thing, the kills in this film are neither as gut-wrenching nor executed well as the kills shown in X and Pearl. Many of the kills in MaXXXine are done either off-screen or do not fully tap into the creative violent nature such as what happened to RJ Nichols at the hands of Pearl Douglas or when Maxine delivers the final blow to the old woman. Much of this film’s budget seems to have gone to the production designs and few on the kills. However, the build-up to a kill involving a shotgun is decent.
Conversely, the narrative illustrations of the kills are as 1980s as they can get. The special makeup effects of lacerations and knife wounds are akin to what is seen in slasher films like A Nightmare on Elm Street or, more recently, Terrifier 2. The presentation of a decapitated head has become a beautiful trope in horror that one cannot be too mad at. Jeffrey Reddick’s Final Destination film series has done a good job in this regard, whether it’s a loser teen dying from a train or exploding barbecue pit, a blonde middle-aged woman from a faulty elevator, or a racist redneck from an exploding towtruck. MaXXXine continues to show how a head without a body can be a rather fun sight, even if concerning.
Other Fashion Statements
Costume designers Mari-An Ceo and Laurel Rose’s outfits for the protagonist and those around her are astounding. Maxine appears more sophisticated at this point; she isn’t exactly a celebrity just yet, but she must have put in hours upon hours into the adult film entertainment business. The actress has a green jacket with her name sewn on, which might be an iconic look for the character in years to come. Fictional filmmaker Elizabeth Bender (Elizabeth Debicki) has a commanding figure, whether it’s her leather coat or business casual attire. Private eye John Labat (Kevin Bacon) has a sleazy front, which is unlike Bacon in a majority of his prior films. This is all thanks to the costuming, the hair, and the makeup.
Ti West’s film also highlights characters who were prominent during its time, including Lynda Carter’s Wonder Woman and classic comic Charlie Chaplin. Although the film utilizes impersonators, the Wonder Woman character is a callback to X, when a magazine with Carter on the cover is purchased at a gas station. This alludes to the proliferation of leading women in the media. Chaplin’s inclusion points to the theme of performance while receiving an amused reaction from audiences.
Personally, one of the more intimidating scenes that is completely fear-inducing is when Maxine finds herself working with an effects artist (Sophie Thatcher). There is a sort of claustrophobia about having a mold of clay formed around one’s living, breathing head. It’s a little worse than showering with shampoo on and a person’s eyes being closed. Maxine expresses utter terror here, and even watching goop drop from her chin adds to the tension.
Say Goodbye to Hollywood
Production designer Jason Kisvarday and his team of art directors worked hard on the set pieces. Once the studio doors open for Maxine, the ride begins. This involves nighttime shoots on Hollywood Boulevard, along with two or three scenes on the Universal Studios Lot that feature the facets of buildings and Bates Motel from Hitchcock’s franchise. The film spotlights places that were renowned in the ’80s, such as private rooms for sex workers and spectators or the widespread phenomena of video stores.
MaXXXine repeatedly finds itself in campy circumstances when it needs to set a grave tone. A chase scene between Maxine and Labat comes off as a goofy sequence that one would probably see in an episode of old-school Scooby-Doo. Maxine also finds herself in a non-sexual albeit visceral predicament with a naked man. Out of everything, though, the climax is a ridiculously baffling horror take that, in other situations, would come from a Wild Western crime narrative. On a half-related note, a character is set on fire in the weirdest manner possible.
Some could argue that it pays homage to neo-noir crime dramas, such as Tony Scott’s True Romance, in which stand-offs in film and television were integral to the peak of cinema’s modern landscape. The context surrounding the climax makes the most sense given Maxine’s milieu. However, its execution is outright laugh-out-loud foolish that the only rational response might need to be disappointment.
Spiraling Out of Principles
People can protest all they like, but if they looked in the mirror, [then] they’d see we all have demons staring back at us. … We’ve all got blood on our hands now.
Elizabeth Bender (Elizabeth Debicki), Ti West’s ‘MaXXXine’
Thematically, West’s narrative isn’t too dissimilar to other horror films centered on the Hollywood machine. Scream 3 examines the victimization of industry talent and how women frequently become subjects of controversy and scandals. Similarly, Don Mancini’s Seed of Chucky looks at the lengths women take to earn their place in the industry. Whereas X focused on sexuality as a natural human drive for living and Pearl saw its title character deeply desiring love and attention, MaXXXine sees revenge porn as a form of blackmail, especially at the height of video home system (VHS) tapes being all the rage of the then-present.
Despite its odd villain reveal, the A24 film wants viewers to predict an obvious character to be the killer who follows Maxine in her journey to fame. Scream 3 nearly accomplished this feat with characters, Mark Kincaid and Roman Bridger. MaXXXine has a blend of fantasy and reality that only Hollywood can portray so remarkably. West’s story, although dissatisfactory, is an exposure of conspiracies and controversies of the decade, e.g. serial killers and conservative backlash to the evolution of various media.
The timing could not be more awkward, especially given Investigation Discovery’s Quiet on Set docuseries. There is a claim in the film that children are brought to Hollywood to turn into sinners, and that cannot be further from the truth. Like the mistreatment of women, the Hollywood machine is responsible for the exploitation and traumatization of minors, resulting in men more often than not getting away with their vices.
The Crew Behind MaXXXine
Eliot Rockett (The House of the Devil, Mr. Mercedes, X, Pearl) serves as the director of photography. West serves as the editor of the film.
Justin M. Lubin (Crank: High Voltage, Texas Chainsaw, The Purge: Anarchy, Get Out, Rebel Moon) is the stills photographer.
Tyler Bates (The Devil’s Rejects, Slither, The Sacrament, The Belko Experiment, X, Pearl) scores the musical composition for the film. Joanne Higginbottom scores additional music.
Jillian Ennis serves as the music supervisor. Roger Kosteck is the music editor.
Karen Baker Landers (Van Helsing, Hansel & Gretel: Witch Hunters, Scream, Pearl, Thanksgiving) is the sound designer and supervising sound editor.
Philip D. Morrill is the supervising assistant sound editor. Peter Staubli (Hansel & Gretel: Witch Hunters, Malignant, Scream, Pearl, Scream VI, Thanksgiving), Alan Rankin, and Jon Title are the sound designers.
Jessica Kelly (Hereditary, Midsommar, HBO’s Euphoria, X) is the casting director. Laura Feldman and Stacey Rice are the casting associates.
Corrin Evans serves as the intimacy coordinator.
Aesthetics
Jason Kisvarday (Sorry to Bother You, Palm Springs, Everything Everywhere All at Once) serves as the production designer.
Tricia Robertson and Jason Baldwin-Stewart (Assassination Nation, Happy Death Day 2U, The Hunt) are the art directors. Kelsi Ephraim is the set decorator.
Mari-An Ceo (NBC’s Constantine, HBO Max’s The Flight Attendant) serves as the costume designer. Laurel Rose (Mike Flanagan’s The Haunting of Bly Manor) is the assistant costume designer.
Jaime Leigh McIntosh (Blade Runner 2049, Black Panther, Jordan Peele’s Us, Avatar: The Way of Water, Oppenheimer) is credited as the film’s hairstylist, hair designer and department head.
Sarah Rubano (District 9, X, Pearl, Avatar: The Way of Water) is credited as the makeup and prosthetics artist, as well as makeup designer and department head.
Meghan Heaney is the assistant hair department head. Celeste Gonzalez is the hairstylist.
Tim Mikulecky serves as the stunt coordinator.
Hayley Wright plays Mia Goth’s stunt double. Kevin Burke plays Simon Prast’s stunt double. Corrina Roshea plays Michelle Monaghan’s stunt double.
The Cast of MaXXXine
Mia Goth (Luca Guadagnino’s Suspiria, X, Pearl, Infinity Pool) portrays the titular role of Maxine Minx. Goth also serves as a producer for MaXXXine.
Elizabeth Debicki (The Cloverfield Paradox, Steve McQueen’s Widows, Christopher Nolan’s Tenet) portrays Elizabeth Bender, a filmmaker. Moses Sumney portrays Leon, a nerdy Hollywood Boulevard video store clerk and Maxine’s best friend.
Giancarlo Esposito (Do the Right Thing, Breaking Bad, Okja, Parish, Abigail) portrays Teddy Night, Esq., Maxine’s agent-lawyer.
Lily Collins plays Molly Bennett, a scream queen actress under Bender. Halsey portrays Tabby Martin.
Kevin Bacon (Friday the 13th, Tremors, Flatliners, Hollow Man, The Toxic Avenger) portrays John Labat, a downtrodden New Orleans private detective.
Michelle Monaghan (the Mission: Impossible film franchise) and Bobby Cannavale (Snakes on a Plane, The Watcher) portray Detectives Williams and Torres, respectively.
Minor Cast
Sophie Thatcher (Blink, Yellowjackets, The Boogeyman) portrays an FX artist.
Ned Vaughn plays a news anchor.
Larry Fessenden (We Are Still Here, Southbound, Jakob’s Wife) plays a security guard.
Charley Rowan Mccain plays a young Maxine. Simon Prast portrays Ernest Miller, respectively. Ernest was previously referred to as “the televangelist” in X.
Chloe Farnworth plays Amber James, a friend of Maxine and Tabby’s.
Alison Wonderland plays a club DJ.
Performances and Character Developments
Despite giving her best performance in Pearl, Goth showcases Maxine Minx in a new chapter of her life. She is still a cokehead—which is a stereotype of the decade—and she still repeats the usual mantras to herself. However, her determination for stardom is stronger than ever, and that is demonstrated in her physical appearance. As a star, the character does not let trauma affect her profoundly. Instead, she wears that with ferocity, like Sarah Connor or leading final girls in slasher flicks. Maxine isn’t displayed so much as a “main character” as she is the subject of an investigation. She goes wherever the plot takes her.
Juxtaposed with her characters in Widows, Tenet, and, dare I say, the Guardians of the Galaxy films, Debicki plays less of a victim and more of a mentor from the sidelines. I find her a better fit for the mentor role than Maxine’s agent-lawyer, Teddy Night. As Bender, the actor delivers some of the best lines of dialogue and is the most serious that I have seen her in years. Debicki’s commitment to the role is outstanding work, especially since it requires her to be representative of the rise of women filmmakers.
At his age, Bacon plays a kind of role that I have only ever seen with contemporary actor, Ethan Hawke. Labat is a nutty caricature of private investigators who aren’t all “quite there”. I like seeing him as a henchman-type, a character who does not pull the strings but surely knows who does. The actor performs finely as this kind of role isn’t his usual element. While Maxine’s relationship with Bender is solid, Maxine’s dynamic with Labat is intriguing. She fights with a fistful of keys, as shown in the trailers, but I do wish they physically fought more.
Final Thoughts on MaXXXine
Like Scream 3, Ti West’s MaXXXine treats the past as a spectre that holds weight for individuals who are greatly impacted. The detail that the production crew put into this is interesting, such as the type of end credits crawl previously seen in Pearl and, before that, The House of the Devil. It isn’t a signature for the filmmaker, but it is a nice nod to the endings of classic movies. Tim Mikulecky’s stunt coordination and some of the stunt doubles’ work deserve all the praise. That isn’t to mention that music supervisor Jillian Ennis offers one of the resonating soundtracks of the past few years.
Religion and belief systems also play a sizeable part in the theme of American—and in this case, Californian—history, as viewers see how new norms were set. Cinematographer Eliot Rockett provides some neat shots to the film and helps display how West’s franchise can transcend to places beyond reach. One can either head for the hills or shoot for the stars. Overall, this final installment in the X trilogy is an unsteady and above-average win.
3/5 stars
Ti West’s MaXXXine screens in theaters starting this week!
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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
