MaXXXine
U.S.A./U.K. 2024

Opening 4 Jul 2024

Directed by: Ti West
Writing credits: Ti West
Principal actors: Mia Goth, Elizabeth Debicki, Moses Sumney, Kevin Bacon, Michelle Monaghan

Ti West is one creative devil, singlehandedly opening the underbelly of slasher horror films to revitalized, fey dimensions. West’s first film to cast a spell on audiences was X (2022), with Mia Goth performing as Maxine, a young ambitious porn actress and Pearl, the elderly antagonist, and in its prequel Pearl (2022) Goth playing the villainous title role; both are set in 1979 Texas. X multiplied is MaXXXine, with Mia Goth reprising her role as the now mature adult film star wanting to be famous, hang the cost. As her televangelist Daddy (Simon Prast) taught her, “I will not accept a life I do not deserve.” Maxine, a massacre survivor, is tough as nails. And ready in 1985 when she finally auditions for the lead role in a non-pornographic Hollywood film. Her buddy Leon (Moses Sumney) is appreciatively impressed.

Maxine’s agent, Teddy Knight, Esquire (Giancarlo Esposito as a fantastically laidback nasty), is who she eventually turns to for guidance. The Night Stalker serial killer is closing in; two co-workers (Chloe Farnworth, Halsey) are nervous and scared, two LAPD Detectives (Bobby Cannavale, Michelle Monaghan) want to talk to her, and a detestable private dick (Kevin Bacon) is messing with Maxine’s agenda making her mad as hell. The director’s (Elizabeth Debicki) dictate to “eliminate all distractions” propels Maxine forward. Otherwise, how can it go on forever.

The powerhouse performances portray motley characters with honed, unflappable style, vigor, and charm. Goth’s calculating Maxine meets her match in the icy temperament of Debicki’s character, and even though gotten the best of, Bacon’s character exudes a squelchy southern charm. West produces and edits his third installment in the X trilogy with his split screens showing off the best of that tool, albeit his bumper car ending takes getting used to. Recreating Hollywood’s 1980s rough-edges is Jason Kisvarday’s production design, Kelsi Ephraim’s set decoration, Mari-An Ceo’s costumes, and Jason Zev Cohen and Jason Baldwin Stewart’s art direction. Cinematographer Eliot Rockett, and Tyler Bates’s atmospheric score round out the A-list team.

The trilogy’s intense storylines background/character complexities prevail, e.g., the interplay between Maxine and her estranged father, the private detective shadowing Maxine, detectives surmising about Maxine while hunting the true-life killer. The film’s dark undertones guarantee excitement and danger, just as they misconstrue; the price of fame and filial loyalty add emotional drama. MaXXXine is one fun wild ride. (Marinell Haegelin)

Second Opinion

Maxine Minx (Mia Goth) is a thirty-three-year-old “dirty movie actress” appearing in porno films. Now we meet her on the set of the film The Puritan II. We also meet the film’s influential director Elizabeth Bender (Elizabeth Debicki). In her free time Maxine often drops into a video store to converse with her friend Leon. A night stalker has murdered several people, making it especially dangerous to walk home alone at night. Two detectives are investigating the case and attempt to contact her for information after two of her friends are found dead. Others have disappeared. She discusses the situation with her manager, Teddy (Giancarlo Esposito). Is she also in danger? Is that why she carries a gun? Who is the mysterious person dressed in black leather?

We first see Maxine as a young girl in 1959, tap dancing in a black and white film. Her father says, “That’s my little girl, going to be the star….” In this scary horror film for viewers eighteen and older there are many references to the devil, including its sign on bodies. What’s with this old house on the hill? Still, Maxine never gives up and is willing “to do whatever it takes.” Filmed in Los Angeles, California, it begins with a quote by Bette Davis, “Until you’re known in my profession as a monster, you’re not a star.” It is perfectly supported by seventeen songs including “Bette Davis Eyes” and score music played by the Royal Scottish National Orchestra. (Becky Tan)