Film Review: ‘MaXXXine’ – A Sleazy, Glitzy Dive into 1980s Hollywood

 Ti West’s “X” trilogy, which began with “X” and was followed by “Pearl,” reaches a thrilling and sleazy zenith with its third installment, “MaXXXine.” This direct sequel to “X” follows the journey of Maxine Minx (Mia Goth), a porn actress striving to carve out a name for herself in the cutthroat world of 1980s Hollywood. In “MaXXXine,” West weaves a rich tapestry of homage, horror, and Hollywood history, resulting in a film that is both a loving tribute to and a biting critique of the industry.

The Journey from “X” to “MaXXXine”

“MaXXXine” picks up six years after the events of “X,” where Maxine survived a brutal massacre at the hands of a homicidal elderly couple. The trauma of that experience still haunts her, but Maxine’s determination and ambition have propelled her to the brink of stardom. The film opens with two telling quotes: Maxine’s mantra, “I will not accept a life I do not deserve,” and Bette Davis’s famous line, “In this business, until you’re known as a monster, you’re not a star.” These quotes set the stage for the film’s exploration of ambition, ruthlessness, and the darker side of Hollywood.

A Love Letter to 1980s Hollywood

West’s affection for the era is evident in every frame of “MaXXXine.” The film is a visual feast, drenched in the muted neons and seedy glamour of the 1980s. Cinematographer Eliot Rockett’s work brings this aesthetic to life, making the film a vibrant homage to the period’s B movies. From the set decoration to the acid-wash costumes by Marie-An Ceo, everything screams the performative flash of the 1980s, with a grimy underbelly that hints at the darker realities lurking beneath the surface.

The Hollywood Backdrop

One of the film’s standout sequences involves director Elizabeth Bender (Elizabeth Debicki) taking Maxine on a drive around a studio backlot. As they traverse the lot, Bender delivers a monologue about Hollywood’s disdain for true artists and her desire to create a “B movie with A movie ideas.” This sequence encapsulates the film’s larger ideas, highlighting the cutthroat nature of the industry and the blurred lines between art and exploitation.

Maxine’s Ruthless Ambition

Maxine’s journey in “MaXXXine” is one of unrelenting ambition. Despite her traumatic past, she refuses to be seen as a victim or a savior. This single-mindedness is evident in one of the film’s best sequences, where Maxine lures a private detective (Kevin Bacon) through a strobe-lit club to the tune of Frankie Goes to Hollywood’s “Welcome to the Pleasuredome.” With teased, crimped hair and a pink stripe across her eyes, Maxine is a vision of 1980s excess and determination.

A Star on the Rise

As Maxine’s star rises, she faces threats from those who know too much about her past. Despite these dangers, she remains fiercely independent and unwilling to compromise her goals. This ruthlessness is encapsulated in a scene where, after nailing an audition, she tells a group of hopefuls to go home. Her attitude is further demonstrated when she physically confronts a Buster Keaton impersonator with bad intentions, showing that she is willing to fight – quite literally – for her place in the industry.

The Detectives and the Deadly Game

Detectives Williams (Michelle Monaghan) and Torres (Bobby Cannavale) are drawn into Maxine’s orbit as people around her start turning up dead. Williams and Torres embody different aspects of the cop movie genre, with Cannavale’s bravado contrasting with Monaghan’s portrayal of a deeply affected female officer. Their interactions with Maxine highlight her refusal to be a pawn in anyone else’s game, as seen when she dismissively suggests that the next potential victim should save herself.

The Bette Davis Influence

West’s decision to open the film with Bette Davis’s quote underscores the film’s thematic core. Maxine’s journey is a reflection of the ruthless ambition that Davis spoke of, and West uses this to explore the intersection of stardom and monstrosity. Maxine’s refusal to soften or change, despite her traumatic past, is a bold choice that sets her apart from typical female protagonists in horror films.

A Stylish, If Shallow, Exploration

While “MaXXXine” is a visual and stylistic triumph, some of its big ideas feel too varied and glossed over to make a profound impact. The film flirts with deeper themes but often skirts around them, opting instead for a more surface-level exploration. This approach makes “MaXXXine” a tremendously fun film, but one that stops short of delivering a truly bold statement.

The Final Act and Its Hesitations

As “MaXXXine” nears its conclusion, West hedges on his boldest choice. Despite Maxine’s ruthless ambition and refusal to be victimized, the film ultimately steers her towards a more conventional resolution. This decision feels like a missed opportunity to fully embrace the character’s complexity and the darker themes the film hints at throughout.

Conclusion: A Sleazy, Glitzy Ride

In the end, “MaXXXine” is a tremendously entertaining film that captures the sleazy, glitzy essence of 1980s Hollywood. West’s love for the era and its B movies shines through in every frame, and Mia Goth’s performance as Maxine Minx is both captivating and compelling. While the film’s exploration of its deeper themes may be inconsistent, “MaXXXine” remains a stylish and enjoyable ride that pays homage to the very best – and worst – of Hollywood.