MaXXXine | Review
A Touch of Minx: West Concludes Ersatz ‘Trilogy’ with a Moan
It’s an impressive endeavor to unleash three consecutive, thematically related films within the span of five years—especially when there was not an original design suggested (or even supported) by such a narrative journey in the first place. However, director Ti West has at last certified himself as a notable alumni of contemporary genre films with his X series, brought to its conclusion (well, maybe) with MaXXXine. Although it’s the third film, it follows the events of the first installment, 2022’s X (read review) by following Mia Goth’s titular adult film star who, after having survived tragedy, has just landed an opportunity to pursue a career in Hollywood. The past, of course, isn’t ready to let her go, and someone begins murdering her friends and colleagues just as Richard Ramirez’s terrorizing of Los Angeles is in full swing by 1985. That’s basically the nitty gritty of it as Maxine’s perpetrator is predictably revealed (which includes West’s most subversive suggestion about fundamentalist Christians and their seeming obliviousness to the irony of killing for Christ) as production ramps up on the film she’s starring in. Although it’s peppered with moments of bloody violence and some notable supporting cast members are entertaining, West’s capper can’t help but feel a bit inconsequential, not nearly as perverse as the troubled period it portrays, or as provocative as its elements would suggest.
Having survived the killing spree which claimed her friends and colleagues a decade prior, Maxine Minx (Goth) has made a name for herself in the adult film world. On the verge of turning thirty-three, she believes she must make a transition to ‘straight’ film, nailing an audition to star in a big budget horror sequel, The Puritan II after impressing the director, up-and-coming Elizabeth Bender (Elizabeth Debicki). But someone seems intent on sabotaging her chance at the big time as co-workers from her adult films turn up dead. The detectives in charge (Michelle Monaghan, Bobby Cannavale) grill Maxine for info, but she refuses to talk to cops. Meanwhile, a private detective (Kevin Bacon) shows up, working for someone from Maxine’s past, but her helpful agent (Giancarlo Esposito) offers to intervene—after all, Maxine’s success will only help line his pockets. As production looms on the film shoot and more friends die, Maxine decides to take matters into her own hands and confront the shadowy figure harassing her.
Mia Goth is clearly the beating heart of this franchise, and she’s worth the price of admission here, her Southern twang worthy of its own Gothic ballad. West’s X (2022) better balanced the talents of an ensemble cast, making room for moments of characterization which are surprisingly absent here (with someone like Halsey feeling like unnecessary stunt casting). Although Maxine’s audition gives Goth her only real chance to flex, it’s nowhere near the wondrous closing moments West affords her in Pearl (2022), where Goth stars as the traumatized perpetrator who would terrorize the porno film crew decades later in X. If anything, the loose subtext seems to be there’s a fine line between victim and perpetrator, and perhaps the only way to navigate this balancing act is to pursue your passions instead of repressing them.
Of course, Hollywood is its own complicated beast, and West pays homage to Bette Davis as bookends for the film, opening with the quote “In this business, until you’re known as a monster, you’re not a star,” and then closing with Kim Carnes’ Bette Davis Eyes. But Maxine never really leans into her potential for monstrosity, and arguably is only treated as such by the religious right (which means nearly everyone in Hollywood has been considered monstrous, and therefore, are bonafide stars). Likewise, West fails to make us feel invested in Maxine’s character or career, which lends a detached aura to MaXXXine (though arguably familiarity breeds automatic compassion for some since Goth’s character is cut from the same final girl cloth as Laurie Strode or Sidney Prescott of the Halloween and Scream films, respectively). Maxine believes she can be fashioned into a household name a la Brooke Shields, but her best friend Leon has the wisest off-the-cuff observation in comparing her to Marilyn Chambers. In other words, starring in The Puritan II might be her glass (class?) ceiling. Shockingly, West really seems to squander the elements he’s aligned for himself, considering MaXXXine feels like the Death Wish knock off that should have starred Traci Lords.
A sterling vintage soundtrack assists the mood of West’s film, but the stakes never seem high enough. Giancarlo Esposito as her shockingly helpful agent and Kevin Bacon as a smarmy private dick steal their scenes from the sidelines, while Moses Sumner as Maxine’s bestie and Sophie Thatcher on the film crew feel underutilized despite their screen presence. Like a clutch of recent American films directed by men depicting women film directors, Elizabeth Debicki’s prickly character seems a wasted opportunity, especially here as a chance to reflect on trailblazing women who worked in genre, such as Stephanie Rothman or Rachel Talalay. Ultimately, the X trilogy is, overall, less than the sum of its parts, especially as West can’t decide how he wants to conclude MaXXXine, canceling out its effectiveness with three separate ‘endings.’
★★★/☆☆☆☆☆
