‘MaXXXine’ Delivers Sleazy Fun but Holds Back on Its Boldest Move

Ti West’s “X” trilogy has been fundamentally about movies – their creation, viewing, and the roles within them. However, none ties so deeply with Hollywood’s rich lore as “MaXXXine.”

The third installment follows the narrative arc post-“X” and “Pearl,” functioning as a direct sequel to “X.” It focuses on porn actress Maxine Minx (Mia Goth) in her quest for stardom in 1980s Hollywood. The story intensifies when director Elizabeth Bender (Elizabeth Debicki) takes Maxine on a backlot tour. Maxine, poised to be the lead in Bender’s new horror film, is still haunted by the farm massacre from “X.” Through this journey, West vividly showcases his adoration for the glitzy yet murky 1980s B-movies era.

During the backlot tour, Bender delivers a stirring monologue about Hollywood’s disregard for genuine artists. She articulates her ambition to craft a “B movie with A movie ideas” and discloses that Maxine’s porn background almost cost her the role. To ascertain Maxine’s potential to thrive in an unreceptive industry, Bender poses a crucial query: Is Maxine ruthless?

“MaXXXine” emulates the “B movie with A movie ideas” concept, with one paramount idea being the ruthless nature integral to Hollywood. The film opens with two significant quotes: Maxine’s mantra (“I will not accept a life I do not deserve”) and a Bette Davis quote – “In this business, until you’re known as a monster, you’re not a star.” Despite the movie’s fun, its diverse ideas often remain too scattered to truly hit a poignant note. However, West comes closest when satirizing the concept of the interchangeable nature of monsters and stars.

Set six years after “X,” “MaXXXine” encapsulates 1980s treasures like censorship, the Satanic Panic, anti-exploitation film outcries, and the Richard Ramirez (Night Stalker) hysteria. Maxine, still scarred by “X” events involving a homicidal elderly couple, claws her way to a lead role through sheer determination. As her fame surges, a lurking figure from her past threatens to expose her – but Maxine is determined to fend off any adversary.

Though “MaXXXine” can feel somewhat shallow, stylistically, it offers a thrilling ride. West and cinematographer Eliot Rockett craft a world adorned with muted neons and sleazy glamour, paying homage to horror icons like Dario Argento and Alfred Hitchcock. The film’s design, including Marie-An Ceo’s acid wash and sequin costumes, epitomizes the performative flash and underlying grime of the 1980s. Bender’s observation during the backlot tour, “Fascinating that something can look so believable when in reality, it’s all a facade,” echoes through every frame, blending dinginess with allure.

This duality extends to Maxine herself. One standout scene features “Welcome to the Pleasuredome” by Frankie Goes to Hollywood as Maxine, with teased and crimped hair and wrestler-like makeup, entices a private detective (Kevin Bacon) through a strobe-lit club. Haunted by her “X” experience, Maxine refuses to be a delicate flower and indulges in violence when it suits her. After acing an audition, she dismisses other hopefuls, and when a Buster Keaton impersonator corners her, she retaliates fiercely.

Maxine’s worldview remains unchanging – whether chasing a role or confronting a threat, it’s every woman for herself. As murders start surrounding her, Detectives Williams and Torres (Michelle Monaghan and Bobby Cannavale) press Maxine for help. Both are archetypal characters – Williams embodying male bravado, Monaghan a haggard cop shaken by violence. In a plea, Williams tells Maxine they could save the next girl with her help. “Maybe she should save herself,” Maxine rebuts.

It’s audacious to present a female protagonist who resists becoming a victim or savior despite her trauma. West’s portrayal of ambition and survival through Maxine in a Hollywood context breathes life into the Bette Davis quote at the film’s opening.

However, as “MaXXXine” concludes, West tempers this narrative choice. Although Maxine doesn’t wish to be a victim or savior, the film’s third act imposes these roles upon her. Ultimately, “MaXXXine” refrains from allowing its protagonist to be entirely ruthless and evades exploring the implications if she were.

Source: Rough Draft Atlanta