As a longtime movie buff and follower of Ti West’s “X” trilogy, I was eagerly anticipating the release of “MaXXXine,” the third installment in this intriguing series. Having been captivated by Maxine Minx’s (Mia Goth) journey from a traumatized Texas porn star to a determined Hollywood actress in “X,” and then witnessing Pearl’s (also played by Goth) descent into darkness in “Pearl,” I was excited to explore Maxine’s transformation further.
Meet Maxine Minx (Mia Goth), the complex protagonist of Ti West’s “MaXXXine” and the latest addition to his swiftly produced “X” film series. In our previous encounter with Maxine, back in 2022’s “X,” she was hastily escaping a gruesome massacre at a Texas porn studio from the late ’70s era, leaving a path of gore behind her. Fast forward to 1985 Los Angeles, where Maxine, a diligent actress and peep-show performer, is resolved to rise above her humble, painful past and make it big in Hollywood – no matter the cost.
Maxine is determined to seize every opportunity following her debut in “The Puritan II,” the horror sequel. Nothing will obstruct her path: no gory friend deaths, no urban terrorists like the “Night Stalker,” no tenacious LAPD investigators, and definitely not the persistent private eye, Kevin Bacon. With unwavering resolve, Maxine refuses to settle for a life that falls short of her dreams. Let this be a reminder.
Similar to how “X” and its preceding film “Pearl” provided filmmaker West with the chance to explore different genre elements, “MaXXXine” presents an opportunity for further genre experimentation. While “X” was a gritty slasher and “Pearl” was a Technicolor melodrama featuring ax murders, “MaXXXine” adopts the appearance of an alluring and seedy ’80s erotic thriller. However, this exterior is deceiving as there is no genuine eroticism or suspense within it; instead, it showcases a harmless facade.
All the audio and visual signifiers are there: a great soundtrack of period-appropriate needle drops (including ZZ Top and Ratt), meticulous production and costume design re-creating ’80s Hollywood, lots of stylistic nods to Italy’s leather-gloved giallo films and the filmography of Brian De Palma. But West doesn’t wield these references with any intent, and in fact, there are far too many. The movie is too clever by half, but it’s not even that clever at all.
In this passage, the author describes how directors West uses excessive gestures referencing film history in an attempt to create intrigue, but these references lack significance.
The murder mystery in the background adds an ominous tone, yet lacks context, merely serving as another news headline. Maxine’s colleagues meet their untimely ends, marked with Satanic symbols similar to those she left behind in Texas. Their deaths appear insignificant obstacles on Maxine’s pathway to accomplishment. It remains unclear why Maxine is antagonistic towards the LAPD detectives, Michelle Monaghan and Bobby Cannavale, except for their interference with her schedule. At her new job on “The Puritan II,” Elizabeth Bender, the icy British director played by Elizabeth Debicki, delivers lengthy but ultimately empty speeches about art and the film industry to Maxine.
In the style of West’s dialogue-heavy narrative, “MaXXXine” is filled with recognizable phrases, pictures, and maxims reminiscent of Hollywood critique. However, unlike typical commentary, West fails to deliver any meaningful analysis. He avoids criticizing his protagonist, Maxine, which weakens her compelling portrayal as a ruthlessly ambitious character. Instead, it would be more intriguing to view Maxine as the antagonist rather than the savior of the story. West sets up this idea with an opening Bette Davis quote: “In this business, until you’re recognized as a monster, you’re not a star.” However, he repeatedly backtracks on this theme, leaving both Maxine and “MaXXXine” lacking substance.
As a movie enthusiast, I can relate to how deeply Goth connects with her complex character, having brought both the chilling elderly killer and the emerging young murderess in “MaXXXine” to life. When portraying the porn star with a coal-black heart, she does so fiercely, embodying the relentless determination of a hard-luck survivor.
It’s unfortunate that “X” turned out to be less captivating than anticipated. This intriguing exploration of discovering personal fulfillment and self-realization through filmmaking showed great intelligence and subtlety. The potential in this concept was further developed on a personal level in “Pearl,” and could have been expanded upon in “MaXXXine” through the theme of voyeurism in erotic thrillers. However, the execution unfortunately lost its clarity.
In the end, “MaXXXine” resembles the film set where she is pursued on the movie lot in many ways: a captivating exterior hiding an hollow interior – all show with no depth or significance beneath the surface.
Walsh is a Tribune News Service film critic.
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2024-07-18 18:24