Maxxxine - 2024

 

Ti West concludes his X trilogy with a blood-soaked love letter to 1980s Hollywood, blending slasher horror, neo-noir, and exploitation cinema into a stylish, neon-drenched thriller. While MaXXXine doesn't quite reach the psychological heights of Pearl, it remains an immensely entertaining finale that cements Mia Goth as one of modern horror's defining stars.

Set six years after the events of X, Maxine Minx is determined to leave the adult film industry behind and become a legitimate Hollywood actress. But as a serial killer stalks Los Angeles and ghosts from her past begin to resurface, her dream of stardom comes at a deadly cost.

The film's greatest strength is its atmosphere. Every frame oozes '80s excess, from the synth-heavy soundtrack and grimy Los Angeles streets to the vibrant cinematography and countless nods to horror history. Ti West clearly has an affection for the era, and that passion shines through in every scene. Mia Goth once again commands the screen with effortless confidence, portraying Maxine as a survivor whose relentless ambition makes her as fascinating as she is flawed.

Where MaXXXine stumbles is in its story. The mystery surrounding the killer never feels quite as compelling as it should, and the final act doesn't deliver the same emotional or thematic payoff as its predecessors. Several supporting characters are enjoyable but underused, leaving the narrative feeling slightly overstuffed despite its brisk runtime. These criticisms have been echoed by many reviewers, who praised the film's style and performances while finding the screenplay less satisfying than X or Pearl.

Despite those shortcomings, MaXXXine never stops being entertaining. It's slick, violent, funny in all the right places, and bursting with personality. As the final chapter in Ti West's trilogy, it may not be the strongest entry, but it's a fitting farewell to one of horror's most memorable modern protagonists.

Rating: 3/5

X - 2022

 

X is a film that understands horror is at its most effective when it has something deeper lurking beneath the bloodshed. On the surface, it is a straightforward slasher: a group of aspiring filmmakers travel to a remote Texas farmhouse in 1979 to shoot an adult film, only to find themselves trapped with a murderous elderly couple. In practice, however, director Ti West delivers a film that is as much about ageing, desire, and the fear of becoming irrelevant as it is about creative kills and mounting tension.

What immediately separates X from countless slasher imitators is its patience. West resists the temptation to rush into violence, instead allowing the audience to spend time with the cast. They aren't disposable stereotypes waiting to die, they're surprisingly likeable people chasing dreams in unconventional ways. Even characters whose professions might invite easy judgement are treated with dignity and humanity. The film never mocks them for their choices, and that maturity gives the eventual horror genuine emotional weight.

Mia Goth is the undisputed centrepiece. Playing both the ambitious Maxine and the elderly Pearl is an astonishing acting feat. As Maxine, she radiates confidence, ambition and determination; as Pearl, she becomes tragic, unsettling and painfully human. Rather than presenting evil as something supernatural, Goth's performance reminds us that envy, loneliness and the terror of lost youth can become monstrous when left to fester.

Visually, X is gorgeous. Every dusty road, weathered barn and golden sunset evokes the gritty exploitation films of the 1970s while never feeling like empty nostalgia. The cinematography constantly pays homage to classics such as The Texas Chain Saw Massacre, but West's direction is confident enough to give the film its own identity. Split screens, slow zooms and lingering wide shots create unease long before the first kill arrives.

The horror itself is brutal without becoming excessive for its own sake. The violence lands because the tension has been carefully earned. Every death feels consequential, and the film's slower pacing allows dread to build naturally instead of relying on cheap jump scares.

Perhaps the film's most compelling idea is its examination of youth and beauty. Maxine and Pearl are reflections of one another, women driven by the same desire to matter, to be seen and to escape ordinary lives. The tragedy is that one still believes the future belongs to her, while the other is haunted by the knowledge that hers has already passed. The horror isn't simply murder; it's watching dreams decay into obsession.

The only criticism is that the deliberate pacing may frustrate viewers expecting a relentless slasher. The first hour prioritises atmosphere and character over body count, meaning those seeking constant action may find it slow. Yet that restraint is ultimately what gives the climax its power.

X succeeds because it refuses to be just another gorefest. It is stylish without being pretentious, intelligent without sacrificing entertainment, and genuinely unsettling because its monsters are driven by recognisably human fears. It stands as one of the strongest modern slasher films, proving that even a genre built on familiar formulas can still surprise when paired with thoughtful writing, confident direction and an exceptional lead performance.

Final Verdict: X is a stylish, unsettling and surprisingly thoughtful horror film that elevates the slasher genre through memorable characters, rich thematic depth and a career-defining performance from Mia Goth. It respects the classics while confidently carving out its own identity, making it one of the standout horror films of the decade so far.