Film Review: MaXXXine

MaXXXine
Director: Ti West
Motel Mojave, Access Industries, Access Entertainment
In Theaters: 07.03

When it comes to horror, it’s safe to say that the multifaceted Ti West undoubtedly knows what he’s doing, which is what makes the long–awaited resolution to the Pearl-verse trilogy that much more disappointing. It seems that while all good things must come to an end, nobody ever said that that end has to be what you had hoped for. Although like its sister films, MaXXXine sets out on a very spankingly confident heel, it unfortunately stays on that same white stiletto the whole time, not daring to switch stride or direction. 

As we strut back up to speed with Maxine Minx (Mia Goth, Infinity Pool) six years after the first installment in West’s trilogy, X, she no longer seems to be the same Texan country bumpkin seeking stardom out of reach that we remember—but rather a fully-realized sex symbol with that same unshakeable faith, and an opportunity for fame seemingly a couple of porno films away. This opportunity is presented by none other than Elizabeth Debicki—known as Elizabeth Bender in the film—,the director looking to make an atypical horror sequel of her own: The Puritan 2, whose predecessor garnered much success and established Molly Bennett (Lily Collins, Love, Rosie) as a scream queen, a title quite coveted by Maxine. 

The only things pitchforking this reality are the studio itself, fearful of the attention garnered by a pornstar in a leading role during the era of Satanic Panic and the Night Stalker, a serial killer on the loose slashing victim after victim (not to be mistaken for the actual ‘80s serial offender Richard Ramirez). With body after body—,all of whom connected to Maxine—, dropping, she is forced to reminisce on the traumatic memories that are now dripping back into focus, edging the viewer with what we hope will be a killer conclusion. But this hope remains just that, and throughout the film Maxine instead seems stripped naked of the unhinged and sporadic behaviors that made her the antihero we were all both frightened and in awe of, directing this energy toward private investigators like John Labat (Kevin Bacon, Hollow Man) and wannabe robbers whose bodies and balls, respectively, she literally crushes, rather than the figure flaunting her career ending past before her. However, Maxine’s selfishness is thankfully still very much in tact, as LAPD officers Detective Williams (Michelle Monaghan, Made of Honor) and Detective Torres (Bobby Cannavale, The Watcher) find out when piercing into her life, asking questions to help prevent future murders Maxine’s only callous help is that “Maybe she should save herself, I did”. 

With an enthralling female character like Maxine Minx thrust into an environment as equally enthralling as ‘80s Los Angeles, and a sociopathic murderer somehow knowledgeable about her past, I was definitely sat in the theater—,but not on the edge of my seat. The arresting aesthetic that West and cinematographer Eliot Rockett have cultivated on this film, along with the costume design from Mari-An Ceo and set design from Jason Kisvarday, makes the perfect mix to say the least, but it’s unfortunately not enough to distract from the fact that below that gorily glittery surface, there’s just not much importance. Strong interesting ideals, like a self-assured female protagonist who refuses to let life turn her into a victim, or the exploration of the opening quote from actress Bette Davis, “In this business, until you’re known as a monster, you’re not a star,” are present, but never truly explored to the depth they could have been. Maxine Minx deserves to have been unleashed onto Hollywood in the way I feel she was meant to be as stated by her Agent Teddy Knight: “Raw. Real. Ruthless.” –Alex Dawson

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