It may be the final film in this horror trilogy, but MaXXXine emerges as the strongest of the three. The horror film Ti West wrote, directed, produced, and edited is the third installment in the filmmaker’s X movie series. It gives a fitting conclusion to Mia Goth’s compelling character, Maxine Minx, as it leans into the campy charm of 1980s horror while managing to explore concepts just as relevant now as they were decades ago. This is a film that lovingly embraces the ferocity of the “imperfect” woman while pointing out the hypocrisy of extreme conservatism of past and present. Come for the blood and 80s aesthetic; stay for the great characters and layered storytelling.
MaXXXine tells the story of Maxine Minx, a popular porn actress attempting to break into mainstream Hollywood films in the mid-1980s. Audiences who watched X (2022), the movie that began the franchise, will remember Maxine as the (spoilers) sole survivor of a night of terror when she and her friends rented a cabin in Texas in the late 1970s to film an independent adult movie. At the time, Maxine was just beginning her journey in the adult film world, having high confidence that she would be a big star. Nearly ten years later, in MaXXXine she has achieved some notoriety as a porn actress and is now aiming to continue her rise. She lands the part in a horror movie sequel, but her past seems to be haunting her as a mysterious figure is killing her friends and reminding her of that night many years ago. Yet, despite her PTSD, Maxine is determined not to let a little thing like murder get in the way of her big break.
X was a movie featuring sex worker characters that were allowed to be varied and introspective. The movie pushed back against the often-used horror trope that pre-marital sex was a death sentence and that non-virginal women were created to be slaughtered. Amid gnarly slasher kills, the film gave commentary on society’s ideas on sex, morality, and women. What MaXXXine manages to do is continue this discussion with a bigger budget and even more bravado. It also adds into the mix the role of media in creating sensationalism and a sprinkle of Christian extremism for good measure.
Goth continues to shine bright as our imperfect heroine. She doesn’t want to be a hero; she wants to be a movie star. The character’s reluctance to assume the role of caregiver and the “responsible one” when it comes to saving others flies in the face of the burden often bestowed upon women of needing to put others above themselves. Maxine is self-absorbed at times, not in an obnoxious stereotypical way, but in setting clear boundaries around herself that she protects with viciousness.
In a world where a woman’s right over what happens to her body is called into question by men in powerful government positions, it’s a breath of fresh air to witness a woman on screen who is so unapologetically without any concerns for what anyone has to say about how she uses her body and her sexuality for her gain.
There’s also an idea that for a woman’s character to be taken “seriously,” she has to be the opposite of what is perceived as sexual. Despite horror having a history of being a genre that explores touchy topics, it does not exist in a vacuum away from moments of sexism and misogyny. At times, the heroine role has been bestowed on women who would seem the opposite of Maxine. Making her character the central focus allows for exciting dynamics in the movie. It’s not the first time it has been done, but it’s always nice to see when it is done well.
The cast of characters around Maxine also helps bring a vibrancy to this gritty tale. Kevin Bacon, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Elizabeth Debicki, and others could have easily slipped into caricature-like portrayals of their various characters. Yet, they toe the line with a finesse that allows the audience to smirk or gasp at the right moments. As a filmmaker, West strikes a compelling balance between camp, commentary, and genuine fear.
If you’re a fan of 80s nostalgia, then you will relish the aesthetic from the opening credits to the ending scene. West wants to immerse the viewer in the past even as the story stays relevant to the present day. The previous two films (X and Pearl) are not required viewing to enjoy MaXXXine, but this critic highly recommends X to witness Maxine’s arc as a character fully.
Even at nearly two hours, the film doesn’t feel overly long. Some viewers may figure out the twist in the third act before you arrive there, but that doesn’t make the story any less of an engrossing ride. One can enjoy the film without looking too deeply into the themes explored, but where’s the fun in that? Fortunately, MaXXXine makes it so you can do both—and you should.
MaXXXine is currently playing in theaters. You can view the trailer here.
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