MaXXXine
On the other side of Ti West’s trilogy built around Mia Goth, we can see its full structure, all of the inspirations it is pulling from, and that it is unusual among horror franchises in every way. That is why it will be considered a great franchise, even if the films are a case of diminishing returns with each entry. West recognizes the diminishing nature of the films, I think, because he understands the swings he’s taking with each film. “MaXXXine” was never likely to be a great film, but that’s more a feature than a bug, given its obvious inspirations.
Each film is tackling a different genre. “X” was looking at the slasher genre of the late ’70s/early ’80s and added some unsettling senior citizens, and evangelical views on sex and sin, into the mix. “Pearl” was a bloody riff on the technicolor melodramas of the ’40s and ’50s, with a sociopathic woman losing her grip on reality. Now, in “MaXXXine,” West is working in the seedy style of “girls being stalked” thrillers from the ’80s, and he does a lot to lean into the genre. If one were to watch them from the start of the story- “Pearl”- to the conclusion in “MaXXXine,” you can see the method to his madness as we follow Pearl, who wanted to be a star, with her domineering mother- and the prudish values of the times- getting in the way. By the time the porn filmmakers of “X” make it to her homestead, that resentment is renewed, and the way they are attempting to get the fame she wanted is an affront to her dreams, with Maxine- whose drive to fame rivals Pearl’s- snuffing it out for good by surviving. Now, Maxine is in the spotlight, and she’s not going to let her past get in her way as Pearl did.
When we meet her here, Maxine is established as an adult film star, having put the events of “X” in the rearview mirror. But she is looking to have her moment away from porn, and we see her going to an audition to the sequel, “The Puritan II.” She is honest with the producers and the director, Elizabeth Bender (Elizabeth Debicki), about why she wants this role, and crushes the audition. We then see her going about her life, meeting some of her friends and colleagues. She is in LA in 1985, and living above a video store. We see the Satanic Panic in full swing with people protesting the making of “The Puritan II,” and it is stoked by the emergence of the Night Stalker, a killer who is prone to emblazing satanic imagery on their victims. Now, with a private detective (Kevin Bacon is delightfully sleazy mode) on her tail, and the Night Stalker’s victims starting to hit closer to home, Maxine’s chance for stardom seem to be slipping away.
If we’re honest with ourselves as moviegoers, some late-film revelations are fairly obviously telegraphed in “MaXXXine’s” story, which is part of why the film feels like a step down from its predecessors. Ti West continues to have an understanding of how to send up- and elevate (where necessary)- the genres he is playing in during these films. His Los Angeles is sleazy to its core, with danger at every turn. There are some truly unnerving scenes in this film, as well as the requisite cops (Bobby Cannavale and Michelle Monaghan) who focus in on Maxine as the murders get more personal to her. We also get a great performance by Giancarlo Esposito as Maxine’s agent. As her director-to-be, Debicki is icy cold, trying to convince Maxine that this schlocky sequel could be something more, but the film belongs to Goth, who understands this character inside and out, and isn’t afraid to take her to the darkest places of her morality to get what she wants. “MaXXXine” can only go so far with its story and genre, but as a closing act to this trilogy, West knows that what matters most is Maxine’s arc, and the wicked glee he takes in ending it.
Brian’s review of “X” can be read here.
Brian’s review of “Pearl” can be read here.
