After the absolute success of “X” and “Pearl,” two ultra-low-budget horror slashers with unique perspectives and riotous performances from Mia Goth (“Suspiria (2018),” “Infinity Pool”), writer/director Ti West (“In a Valley of Violence,” “The House of the Devil”) has taken a few years off to come back with his grander and more expensive trilogy capper. Jumping ahead by a few years and jumping locations from rural Texas to Hollywood, it’s a film that, like its main character, has its sights set on grander ambitions. The question is whether or not it achieves them.
Set in 1985, the film follows the semi-titular adult film star Maxine Minx, played by Goth, as she attempts to break into mainstream film by auditioning for a horror film directed by Elizabeth Bender, played by Elizabeth Debicki (“The Great Gatsby (2013),” “Widows (2018)”). All the while, she navigates the underbelly of the Hollywood porn world accompanied by her best friend and video store employee Leon, played by Moses Sumney (“The Idol”), fellow porn star Tabby Martin, played by Halsey (“Sing 2”), and her entertainment lawyer/agent Teddy Knight, played by Giancarlo Esposito (“Breaking Bad,” “Do the Right Thing”). However, while she’s attempting this, a serial killer known as The Night Stalker lurks throughout the city, killing defenseless youths in the night. These killings result in Maxine being targeted by two hotshot LA detectives Williams and Torres, played by Michelle Monaghan (“Gone Baby Gone,” “The Path”) and Bobby Cannavale (“Win Win,” “Homecoming”) respectively, and private investigator John Labat, played by Kevin Bacon (“Footloose,” “Apollo 13”).
“X” and “Pearl” were fairly light on story, coasting by on vibes and production design to B-horror film glee. “MaXXXine” on the other hand has its sights set on a bit larger scope and story, which is absolutely understandable. Most films that go from small budget success to larger budget finales have an increased scope, but the problem is that while the scope is expanded, the story hasn’t grown to match. You simply cannot coast by on vibes for the third film in your trilogy, especially the final film. Maxine doesn’t grow or change as a person, and the supporting cast around her is pretty one note as well. The actors playing those roles are clearly having a lot of fun, maybe too much, but their roles don’t result in anything meaningful by the end. Most disappointing of all though, the film plays its central mystery/twist as a grand and completely unexpected moment. Yet virtually anyone who’d been half paying attention is likely to have guessed that twist twenty minutes in.
Goth is a great as she’s ever been, but she’s saddled with a story that squanders her talents, turning Maxine into a passive observer rather than the cutthroat badass we saw in “X.” It’s a bizarre neutering of a character that captured attentions effortlessly initially, and Goth can only do so much within those constraints. Debicki is fairly subdued, playing a stereotype of the “holier-than-thou" director that works well. Bacon is absolutely playing things up to eleven, bordering on parody with a thick Louisiana accent and cartoonish style. Esposito is great in his limited screentime, blurring the line between his larger-than-life comedic stylings and the intensity from his darker roles. Sumney and Halsey meanwhile feel completely forgettable, both in terms of runtime and character impact. Monaghan and Cannavale’s completely seriously played detective duo meanwhile occupy a bizarre space where they’re both exceptionally well-acted and yet so insanely silly and cliche riddled they feel like living jokes.
There’s nothing inherently wrong with any of what’s mentioned above: a protagonist who doesn’t change much, overly comedic supporting characters, minor cast members used for killing fodder. These are all classic slasher movie cliches. The problem is that film just lacks any sense of memorability. The kills feel flat, the pacing is fine but uneventful, and the atmosphere just feels like bog standard 80s set dressing. Most surprising of all, given the overt violence and sexual content that was a part of the personality of “X” and “Pearl”, “MaXXXine” feels absolutely tame by extension. It’s not that it isn’t there, it’s still rated R, but it feels here out of obligation. Which is especially bizarre for a film that literally has three Xs in the name.
In a vacuum, there’s a chance that “MaXXXine” would feel far better than it does but given the long shadow of “X” and “Pearl” hanging over it, it’s hard to imagine anyone feeling satisfied with this conclusion. A bizarrely tame, predictable, and weirdly unmemorable film that traps some playful performances and a leading lady who can clearly do and be better than she is here. “MaXXXine” is far from the worst film of the year, but unlike its lead character, it fails to make any kind of impact. 2.5/5
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