“MaXXXine” Is a Fun Ride to a Predictable Party
Haven’t we all dreamed of becoming a star? On particularly dreary or hopeless days, who hasn’t imagined hitting the road and trying our hand at the Hollywood machine? But few have the drive, the talent, or the X-factor to make it happen. Maxine Minx (Mia Goth) is the rare exception. This former church girl and daughter of a popular televangelist has sacrificed everything to accomplish her goals and will not rest until the whole world knows her name. Ti West’s MaXXXine follows the titular heroine on the final steps of her journey to stardom. The concluding chapter in the X trilogy, this 80s satanic horror film is an enjoyable throwback with plenty of gore that falls apart when it tries to make sense.
Maxine will not accept a life she does not deserve. The intrepid porn actress was last seen fleeing a cabin in rural Texas strewn with the bodies of her castmates and friends. The sole survivor of the “Texas Porn Star Massacre” (wink), she’s spent the last six years building a name for herself in the adult film industry and dancing at seedy clubs on the Hollywood strip. She finally lands a leading role just as a series of gruesome murders strike at the heart of her inner circle. Not only are her friends dying, but someone with information about her troubled past has tracked her down and intends to use the would-be starlet as the centerpiece of a devilish plan.
The X trilogy may feature fantastic performances from Mia Goth, but each film also serves as West’s exploration of beloved subgenres and styles. Past entries have referenced classic slashers and fantasy fare, but MaXXXine’s inspiration is a bit more nebulous. Inspired by the 80s obsession with satanic cults, the film also feels heavily indebted to the giallo era. Not only does a black-gloved killer stalk our heroine, some of the film’s more outlandish twists harken back to this particular subgenre of Italian horror. Fun 80s vibes are the film’s strongest element with nostalgic needle drops and the seedy Hollywood scene. It’s particularly fun to see John Parr’s criminally undervalued “St. Elmo’s Fire (Man in Motion)” used as the soundtrack to a spectacular moment of female empowerment. The hair is big, the coke is flowing, and the denim is pervasive, but West uses admirable restraint and doesn’t overwhelm us with meaningless throwbacks.
Goth has seemingly used these three films to cement her status as one of horror’s reigning scream queens. Her performance here is equally powerful though she’s not given as much to do. On the precipice of stardom, this Maxine is more reserved and focused though she does show genuine sympathy for her fallen friends. It’s tempting to conflate the character with Goth’s star-making performance in Pearl and view this film as a character study of her alter ego Maxine. Compared to the heights of the trilogy’s second film, Goth’s performance feels surprisingly stoic. Consumed by ambition and a need to escape her past, it’s difficult to pin down who this character actually is.
In addition to Goth, MaXXXine is filled with excellent performances, from Sophie Thatcher’s sensitive turn as an FX artist to Moses Sumney as her best friend Leon. Giancarlo Esposito stands out as a smarmy agent and father figure while Elizabeth Debicki provides a model for succeeding in a male-dominated industry. But Kevin Bacon is the story’s true stand-out as a sleazy private detective tasked with tracking Maxine down. It’s always fun to see the iconic actor in a villainous role and Bacon has a ball with this disgusting persona.
As the concluding chapter of a trilogy exploring the juxtaposition of horror and porn, MaXXXine feels strangely devoid of sex. Though filmed against the backdrop of the adult film industry, most of the story follows Maxine’s attempts to escape the shadow of her racy filmography. The plot hinges on protests of Maxine’s horror film, but unlike X, there’s little argument for the validity of either genre. A third act villain rants about innocent daughters lured away by corruption, but no one’s really making the opposite point. West is more concerned with Maxine’s individual path to stardom than in justifying the importance of bodily autonomy and maligned art. Like Maxine, West also seems to be moving the trilogy towards mainstream fare and away from the porn celebration of its opening chapter.
In addition to a confusing moral throughline, there are some major plot holes and wild logical leaps. We’ve been following a trail of breadcrumbs leading to the trilogy’s Big Bad, but the killer reveal feels simultaneously obvious and perplexing. Though it makes sense on paper, it’s difficult to square the villain’s plan with what we’ve learned about their lifestyle and beliefs. While exciting to see it all play out, the outlandish plot feels reverse-engineered to end in a bombastic (though admittedly satisfying) final scene.
MaXXXine ultimately feels like a missed opportunity to explore exploitation of women in Hollywood. West begins to approach this topic, but fumbles when tying the franchise together. Though filled with strong performances, a killer soundtrack, and visual flair, the film feels devoid of a coherent message. Maxine is good and we want her to succeed, but what about the women who share her dream? Is there enough star power to go around or can Maxine only succeed in isolation? X and Pearl offer powerful messages about female ambition and autonomy, while MaXXXine feels like a fairly standard character study of a singularly talented and ambitious woman.
Jenn Adams is a writer, podcaster, and film critic from Nashville, TN. Find her social media nonsense @jennferatu.