Film Review - MaXXXine
Images courtesy of Universal Pictures.
MaXXXine marks the end of Ti West’s ‘X’ trilogy, and as sad as viewers should be to see that it’s over, after experiencing its finale, I doubt many would be disappointed. Slasher films have a long and extensive history, of which West clearly understands its tropes and intricacies; he compiles the best and (affectionately) the worst of the slasher genre to code-switch from scene to scene, film to film, while remaining acutely aware of not only the work of other directors but also the trilogy itself. If you’re a fan of slashers, 80’s pop culture, and even detective flicks, MaXXXine will be a thrilling ride that will leave you on the edge of your seat.
The driving force of the film is the camera-shy “Night Stalker,” whose hands come into frame as they clutch onto items in anger, stalking Maxine as she is performing a peep-show, or committing gruesome and bloody murders, whose identity remains withheld as Maxine becomes their latest fascination. In the background, two detectives on the case of the murders seek to help Maxine when they establish a connection to people around her and the victims of “The Night Stalker,” but they are about as helpful as most detectives are in horror films, despite their well-meaning dispositions.
Under the helm of A24, from which many expect artful, thought-provoking horror films (which Pearl may steer closer to) such as Hereditary, The Witch, and recently Talk to Me, the trilogy from the minds of West and star Mia Goth relishes in the camp, indulgence, and the self-referential more akin to Wes Craven’s Scream, Netflix’s Fear Street Trilogy, or Amazon’s Totally Killer. This is not to be dismissed, it is instead something horror fans should look forward to, especially considering the depth of the characters in the story. MaXXXine clearly encapsulates what it seems West has been attempting to do throughout the three films, which is to inject the genre of the setting’s period into the genealogy of the movie. We can clearly see this in X with the hommage to 70’s slashers, teen coming-of-age films, secularism, and an acute interaction with Paul Thomas Anderson’s Boogie Nights; think of Maxine’s cocaine dependence, a radical and devoted parental figure, and an unwavering desire to be a star, among other things. This is taken up a notch in MaXXXine with even more to work with than in the previous two instalments, vis-à-vis the explosion of corny B-grade horror flicks, the goofy Los Angeles detective trope thanks to Beverly Hills Cop and Lethal Weapon, and West’s willingness to flip the structures of genre on its head to create unexpected scenes and excitement, as well as branching out, making subtle references to Inglourious Basterds, among other films.
The character of Maxine living in a post-grandparents-sexual-fantasy-massacre world is an interesting one and, similarly to Pearl and her character, leans into the depravity of our world, demonstrating how one can easily be broken down or radicalised by horrifically traumatic events. The interaction of different types of trauma is a subject other horror franchises often wrestle with, but run into narrative issues when characters remain good, instead of leaning into their depravity like Maxine and Pearl do in the X trilogy. After watching the Scream films, you quickly ask: If they’ve been through so much, how are these characters still so normal, and why can all the Ghostface killers so easily be explained by mental illness or sudden insanity? Shortly into the film, Maxine is walking home on the stylistically grimy LA streets, where she is cornered by a man with a knife, and instead of simply defending herself and running away as Sidney Prescott would, Maxine chooses to humiliate her attacker with vengeance.
Maxine gets her big break through the sequel of the B-grade horror film “The Puritan” and lands her in the sound stages of Warner Bros. Studios, which is in further dialogue with the setting of Scream 3 and Hollywood as an institution itself; upon watching both, one may think at times that it would seem MaXXXine is what Scream 3 wanted to be but could not achieve. This dialogue between Hollywood itself as well as the film is also represented by the hard-shelled character of the feature’s director, Elizabeth Bender (Elizabeth Debicki). Similarities lie between her and Maxine’s thought processes, despite their differing experiences. In the opening scene at a casting call for “The Puritan 2,” the casting director casually asks if they can see Maxine’s breasts while simultaneously reprimanding her for being a pornstar - initiating a feminist commentary that continues through the feature, about the treatment of women in Hollywood.
Although the simplicity of MaXXXine’s plot may lead viewers to believe West’s slasher finale is an empty one, behind its flashy display are meaningful dissections of characters’ dealing with trauma, as well as a stunning reflection of the genre itself. If you’re an avid fan of horror films and especially love slashers, this is the film for you; if I’m not describing you, but you’re willing to give it a shot, you’ll find a fun ride of a movie with a few laughs and thrills along the way!
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MaXXXine is screening in cinemas now. For tickets and more info, click here.