Overview
As played as an unrelenting force by Mia Goth (Infinity Pool), even when slasher killers have other plans, Maxine Minx was always going to go big and never go home. To wrap up the horror trilogy with the ambitious actor at its centre (when Goth hasn't also been playing Pearl, its other protagonist, as both an elderly and a younger woman), MaXXXine shoots for the stars as well, including in shifting to new surroundings. Gone is the New Zealand-standing-in-for-Texas production base of X and its prequel Pearl. Absent is the claustrophobic feel of mainly making one spot the franchise's location, whether it was taking place in the 70s in its first entry or in the 1910s in its second. This Los Angeles-set leap to 1985 sparkles with the same scorching drive and determination as its titular figure — and Minx, Goth, writer/director Ti West (Them) and MaXXXine alike won't accept a life, or a swansong instalment in one of the best sagas in the genre in the 2020s, that they do not deserve.
From its debut with 2022's X, which turned a porn shoot in a remote farmhouse into a bloody stalking ground, West's big-screen series has always understood that sex and violence so often intersect in the arena that it's paying tribute to: moving pictures. X, Pearl and now MaXXXine also see how censors and the pearl-clutching equate one with the other. Equally, these pictures glean how a woman with a libidinous appetite — or simply the craving to succeed and the unwillingness to settle — can be deemed a larger threat to morality than a murderer. They also spy what a battle it too frequently is for women to chart their own path free of society's expectations, no matter their aspirations. West not only continues splattering these ideas through MaXXXine, but layering them, plus stacking his latest unpackings of them with X and Pearl. The true target in his current sights, however: what it just might cost to make it in a realm as ruthless and ravenous as stardom.
The wannabe adult-film performer of X circa 1979 is now the hottest name in skin flicks six years later, a status that matches the sleazy gleam that West and cinematographer Eliot Rockett — who also returns from X and Pearl, and lensed the filmmaker's The House of the Devil, Cabin Fever 2: Spring Fever and The Innkeepers before that — afford everything in sight in her new Hollywood life. Minx's existence and career is glowing, but she wants it to shine far and wide beyond porn's shadows, not to mention brighter. Only mainstream stardom will do, albeit with her attempts to break into legit on-camera work squeezed between her usual shoots and doing nights at a peep show. She's certain that she'll get there, though. After striding out of an audition early in the movie, Minx tells the long parade of other actors lining to be seen not to bother trying to walk in her footsteps.
That quest to secure the lead in The Puritan 2, which British filmmaker Elizabeth Bender (Elizabeth Debicki, The Crown) is directing, is a helluva early character-defining moment — and moment in general. It's also cannily juxtaposed with a glimpse of Maxine's pre-X background, when she was a kid (Charley Rowan McCain, SWAT) in the 50s that Pearl cribbed its style and cinematic influences from, as seen on a TV set as black-and-white home-movie footage. Not giving up has been her mantra for decades, West makes plain. As Bender looks on with a steely stare, 80s-era Maxine performs her monologue with not just precision but conviction that's clearly been forged since her youngest days. She snaps into it instantly, summons tears just as commandingly, then switches back to her regular self as quickly. Digging into trauma is that easy for her. So is agreeing to the next audition request: baring her breasts.
Booking the gig makes Minx a kindred spirit to Bender, in a way: both see MaXXXine's film within a film as a springboard to broader credibility, which is no straightforward task given the period or industry. But The Puritan 2's lead is also a woman haunted, though not in the soul-shaking sense, as X established isn't in this character's wheelhouse. Rather, her past keeps making its presence felt, especially via shady private detective John Labat (Kevin Bacon, Beverly Hills Cop: Axel F) and his mysterious employer, who know what Maxine did a few years prior to last summer. Additional torment comes via mounting deaths around her, which are chalked up by some to the Night Stalker — aka Richard Ramirez, the IRL serial killer who terrorised mid-80s LA — yet not by persistent detectives Williams (Michelle Monaghan, The Family Plan) and Torres (Bobby Cannavale, Bupkis).
Also backdropped by the real-life campaign against purportedly inappropriate pop culture, such as the Parents Music Resource Center's "Filthy Fifteen" songs (tracks by Prince, Madonna, AC/DC, Cyndi Lauper, Mötley Crüe and Def Leppard all featured), MaXXXine might involve a realm that's all about money shots, but it's a neon-lit movie to scour while savouring the moment, not to watch waiting for the climax. That's no knock on the picture's finale, which knows how to deliver. Instead, it's recognition that West is having fun overall, and in slipping in nods to the film's predecessors, getting meta with his casting and riffing with screen history — all smartly and entertainingly. Putting Bacon, who is visibly having a ball, in an 80s-set horror flick while also winking to Footloose is the franchise's second-best use of talent since choosing Goth as its centre. Literally wandering around Tinseltown's past on the Universal lot, including the slasher ground zero that is the Bates Motel set, brings mood, meaning and more musings. The latter also gets a-layering itself, operating as an acknowledgement of how the work of Brian De Palma, whose four-decades-back releases Dressed to Kill and Body Double are clearly influences here, itself owed a debt to Alfred Hitchcock.
For even more company for Goth, West finds space for Giancarlo Esposito (The Boys) as Maxine's agent and lawyer, Lily Collins (Emily in Paris) as a fellow actor, Sophie Thatcher (Yellowjackets) as an FX artist, and Halsey (Americana) and Moses Sumney (The Idol) as friends, too. With its roster of talent, MaXXXine also goes big. Still, it knows its star. Goth is the sun in this franchise, to be accurate, whether she's busting balls — which isn't a metaphor on every occasion — or stopping at nothing to be in the world that she so deeply and feverishly covets. There's wit, insight, gore, and both horror and cinema affection galore across X, Pearl and MaXXXine, and West gives it his all, but Goth's efforts over and over have sent this saga soaring. No viewer can doubt that as Maxine here and in X, as Pearl in X and the character's own eponymous flick, and as Mia after prior parts in Nymphomaniac: Vol II, A Cure for Wellness, Suspiria, High Life and Emma, that she would ever tolerate a single thing that she doesn't feel that she's earned and is entitled to.
