Director Ti West is back with his final installment of his trilogy with MaXXXine. Set in mid 80’s Hollywood, Maxine Minx moves to California determined to break through from the adult entertainment industry and become a household name in horror films. Yet the city has a serial killer on the loose and one by one is dictating the demise of her closest social circle while also threatening to reveal her sinister past. Entertaining as MaXXXine may be, it unfortunately falls fairly flat and relies heavily on its nostalgia factor to carry its weight.
It’s clear that Mia Goth has already proven to be an undeniable star in her roles as Maxine (and Pearl) in West’s features. With the ability to showcase absolute terror, madness and detached coolness in whatever situation you place her in, she succeeds while winning over the audience. Full of swagger and confidence in West’s latest feature, Maxine boasts about her big break in her audition for the lead role in a horror movie sequel. Working alongside her friend Leon (Moses Sumney) at an adult video store below her apartment, the two quiz each other on femme fatales and horror flicks in their downtime. When she’s under director Elizabeth Bender (Elizabeth Debicki)’s time, Maxine proves more level-headed and obedient, wanting to prove herself as someone to be taken seriously and move up in the world of glam and fame. Kevin Bacon’s role as private detective John Labat brings out a more humorous role while adhering to L.A.’s gritty nightlife scene while resurrecting Maxine’s seedy past, which she just can’t seem to hide from. Unfortunately there are several relations depicted in the film that don’t get as much air time as I’d wish for them to develop further depth and nuance, including Maxine’s ties to Bender and her co-stars.
Ti West doesn’t shy away from the obvious pastiche and homage surrounding MaXXXine. With a chase between Maxine and detective Labat on the grounds of the filming studios and onto the set of Norman Bates’ home, to similarities between that of Alfred Hitchcock, Dario Argento and Brian De Palma, the throwbacks are obvious but at least fairly entertaining to watch. “Fascinating that something can look so believable, when in reality it’s all al facade”, states Bender as she and Maxine drive through the lots of the film studios. Even the two L.A. detectives determined to get answers from Maxine as to who’s terrorizing the city seem to play obvious roles as the machismo and intuitive partners in crime (played by Bobby Cannavale and Michelle Monaghan, respectively). While MaXXXine does harness in a good degree of entertainment and spectacle, the film ultimately falls short; perhaps both due to any kind of comparison to Pearl, arguably one of the best psychological horror films that has come out in the last decade, as well as a farewell and finale to wrap up the trilogy that indeed carried the weight of so much potential.
