It is pretty rare to find a trilogy that feel solidly crafted and thoughtful throughout its entirety. That’s largely due to the fact that it is even more rare for the same director, writer, and editor being at the helm for all 3 films. Milage may vary on whether or not Ti West‘s horror homage trilogy is for you, and the order in which you place the films are dependent on which genre you enjoy the most. But that, for me, is what makes Wests’ work here so fascinating and enjoyable. All three films, “Pearl,” “X,” and now “MaXXXine” feel wholly unique and tied to their genre first, connective tissue and singular narrative second. Both work, and West implores you to pick your poison and relish in the wholly engrossing world he creates. in each film, he treats each period like his own playground, constantly wearing his inspirations on his sleeve in every frame while remaining reverent of those he is paying tribute to.
Whether its the technicolor distorted “Wizard of Oz” 1920s cinema or “Texas Chainsaw Massacre” 1970s exploitation horror, or “Body Double” sleazy 1980s thriller, West has created a little something for everyone. Well, everyone who’s into those sorts of things. “MaXXXine” oozes with 80s aesthetic, capturing everything from neon lights to dirty Los Angeles streets to crime rise news cycles to even an overuse of split screen shots and montages. All things that perfectly capture the b-movie thriller 80s genre that “MaXXXine” thrives in. This third entry is the most fun West has had so far, trading out some of the more meaningful commentary and character study work of the previous two films to deliver an over the top, sometimes shallow narrative. Here, the world building is more important than the characters, which for some is a deterrent and places “MaXXXine” at the bottom of the trilogy list. I won’t fault anyone for this; it’s the beauty of what West has created.
Mia Goth once again steps into the lead role for a third time, continuing the story of Maxine Minx as the sole survivor of the massacre in “X.” Believing the past is behind her, she will do anything to be a star. And not just any star, as we see her as a prominent adult film star when we meet her some 10 years later. No, she wants everyone to know her name. Maxine wants the fame and the glamour and money and the adoration, all themes that have been ever present throughout the entirety of the trilogy. But festering underneath is the satanic panic spawning outcries of religious groups against Hollywood, the Nightstalker ever looming in the background, and religious ties Maxine has long thought to be dead but are now resurfacing. To be a star, Maxine will have to confront her past yet again and move everything out of her way to get to the top. “MaXXXine” also stars Kevin Bacon, Elizabeth Debicki, Lily Collins, Halsey, Michelle Monaghan, Bobby Cannavale, and Giancarlo Esposito.
I would argue that “Pearl” is Goth’s best work in the series, with “MaXXXine” being second and “X” being third. This is largely due to the fact that she’s not really the central character in the ensemble, and her old woman Pearl (though fascinating and horrifying simultaneously) only comes alive in the last 30 minutes. “MaXXXine” is pretty much all Goth from start to finish, with the entirety of the story centered on her and her rise to fame. The Pearl and Maxine storylines collide here, with both sharing the desperation for stardom and recognizing their similarities whether they want to or not. The brilliance of “MaXXXine” as it relates to its predecessors is that it acts as the culmination of that story and not so much its own. The thriller aspects and mystery and in-narrative payoff don’t seem to be Wests’ primary concern since all of them are telegraphed from the start. No, “MaXXXine” – and I would argue the entire trilogy – is about Pearl and Maxine, stardom and failure, destruction and redemption, religion vs freedom.
That last bit seems to be the most prevalent in this final entry, and one that West has been most concerned with from the start. Where Scorsese uses freedom from religion as a cautionary tale, West champions that freedom through sex. There’s a subversive quality to the final girl, who rather than being chaste and good, Maxine Minx is a cocaine addicted sex worker bent on reaching the top of Hollywood by any means necessary. “MaXXXine” culminates this clash of cultural ideas in an over the top climax that feels transported from a different film entirely and is sure to leave some scratching their heads asking if it’s a worthy payoff. That is, until you realize that this is EXACTLY the kind of film that “MaXXXine” is suppose to be, and though I won’t spoil it here, is portraying some very real religious figures that existed at the time. Cults and cartoonish villains and implausible gunfights are all elements of sleazy, cheesy, violent 80s thrillers, and West dives in head first.
The payoff isn’t the conclusion of Maxine’s story. It’s the conclusion of Pearl and Maxine, intrinsically tied together in haunting mirrors of each other throughout each period of time. “MaXXXine” feels purposefully hollow and surface level because the aforementioned themes are what matter most. They’re what have always mattered most throughout the entire trilogy, this one is just having the most fun doing it. “MaXXXine” is a ton of fun for lovers of the genre, packed with over top violence, dark humor, and terrific performances. It pulls back the curtain of movie magic in some inventive ways, and while Goth is firing on all cylinders, Bacon is having a blast as a sleazy (I know I keep using that word but it’s just so fitting for so many aspects of this film) private detective and Esposito finally gets a chance to shed his stoic villainy and showcase his more comedic side as Maxine’s agent.
There are plenty of ways to read “MaXXXine,” and it can be enjoyed for its shallow 80s thriller recreation but people who don’t really care about all that thematic stuff. And you’d be right to say that this is a trilogy of diminishing returns, ranking “MaXXXine” as the least favorite of them all. It is whatever genre you love most that dictates the rankings, and West choosing the 80s thriller as his final entry hits all the right vibes for me. I’m a sucker for this kind of stuff; neon lights and larger than life characters, backlot Hollywood and religion and panic and grimy streets are all things that movies are made of for me, and on that surface “MaXXXine” works for me. On a deeper level, I find each entry to be thematically rich, wholly contained within themselves but bursting with connective tissue that is continuously discovered upon rewatches in any order you choose. Each film enhances the other, and whether taken separately or as a whole, the appreciation for what West has done is worth the time spent in the worlds he created.
“MaXXXine” won’t be for everyone, even for fans of “Pearl” and “X.” The rankings will vary wildly based on what world of cinema you cherish the most, and this third entry requires you to have seen the previous two far more than those two films require each other. “MaXXXine” doesn’t stand on its own and needs its predecessors to feel complete and mine its themes, but its a helluva good time at the movies and I am thankful we have someone like West willing to take such bold swings and make something special.
If you’ve got a love for 80s thrillers and b-movies and over the top violence, and a pant busting crush on Mia Goth (unhinged or not) the “MaXXXine” is coded for you.
Rating: 4 out of 5 Stars
“MaXXXine” is playing in theaters July 5th. You can watch the trailer below.
