MaXXXine

Grade: C+

MaXXXine opens with the title character doing an audition for some Hollywood casting directors. It’s for a horror sequel. Critics have brought up the audition scene Naomi Watts did in Mulholland Drive, but I would never compare MaXXXine to that movie. It ends with her walking by the other actresses waiting, and saying “Y’all might as well go home now, ‘cause I f*cking nailed that!” Maybe there’s an actor who wishes they could give that exit line.

If you didn’t know, MaXXXine is the conclusion of a trilogy that started with X and Pearl, both out in 2022. X, a slasher gorefest set in 1979, introduced a group of adult film actors and crew filming their latest “movie” on an elderly couple’s Texas ranch. It didn’t end well for anyone except Maxine (Mia Goth, who also played Pearl, the very old lady who lived in that house). Pearl, out a few months later, took place in 1918 and was an origin story, starring Goth as our early-20s Pearl. It had a lush, Technicolor, Wizard of Oz feel. Writer/director Ti West is known for unexpected shocking imagery. In X, I most remember an impressive full frontal male shot. It must have been a windy night, because something was swaying back and forth. In Pearl, it was Goth’s muscle-stretching extended smile at the end.

Which brings us to MaXXXine. It’s 1985, and Maxine is trying her hand at getting into some real movies, after enjoying fame in the adult film business. There’s an amusing running gag where practically every man she encounters recognizes her. “I’m Maxine Minx.” “Yes, you are! Love your work.” Ti West brings us into 1980s Hollywood much like Quentin Tarantino evoked 1969 Hollywood – but I’d never compare the two movies. The hair is teased, love is a battlefield, the president is a former actor, and Maxine has booked the part in that horror sequel.

Meanwhile, a serial killer known as The Night Stalker is at large, and a few of Maxine’s female co-workers from the business are disappearing. Nobody thinks she’s the killer, but she catches the attention of a couple of detectives (Bobby Cannavale, recently in Ezra, and Michelle Monaghan). They are hoping she can help them, plus they don’t want Maxine to be next. Another person on her trail is a sleazy, mustachioed detective from New Orleans (Kevin Bacon). In a subplot that could be called I Know What You Did Six Summers Ago, he is aware of the events in Texas in 1979.

MaXXXine doesn’t seem to know what it wants to be. Is it about her aspirations of being a star? Is it about her facing the music with what happened in Texas? It’s murky about where the focus should be. Goth, an actress who has had daring show stopping moments of courage onscreen, doesn’t really get any here. B- and C+ is my pass/fail cutoff point, with the former being the “worst good movies” and the latter being the best bad ones. X and Pearl got my B-. I didn’t love them, but was interested and optimistic enough that once Ti West gained enough clout and bigger budgets (I’m impressed that he was able to snag Bacon and Giancarlo Esposito for this), he could pull something truly special together to bring it home.

Sadly, the trilogy ends with a whimper and a sputter. It’s aimless, disjointed, and by the time we get to the ending, with the reveal of the killer (and the explanation of their motives), it’s so campy and overacted that no viewer could possibly be taking this seriously. Ti West is a talented director, to be sure. He successfully created three very distinct movies, and they all look great in their own way. I want to see him continue to do his thing, particularly behind the camera, where he shines. Maybe get a co-writer, or just not be involved with the writing. Though her work here is tame and safe compared to what she’s done before (you’ll never forget Brandon Cronenberg’s Infinity Pool), Mia Goth has no shame or fear, and will do anything. Once she gets into some awards-bait projects, she will be unstoppable. Much like Maxine.

Grade: C+