MaXXXine – Review

This summer, a new breed of it girl has taken center stage, captivating the internet with their unapologetic confidence and edgy allure. A trend ignited by the rebellious spirit of Charli XCX’s 360 music video for her album Brat, these so-called ‘brat girls’ have become a cultural phenomenon, their audacious styles and rebellious spirits challenging traditional notions of femininity. It’s a celebration of being “really hot, in like a scary way”, as model-musician Gabbriette, one of the faces of this movement, puts it. This new wave of brattiness has woven its way through music, memes, and now, cinema.

It’s in this cultural whirlwind that director Ti West’s MaXXXine finds its perfect storm. Premiering amidst the peak of Brat Girl Summer, this gruesome yet vital final chapter in his slasher tribute X trilogy sees Mia Goth (Suspiria, Emma) stepping into the dual roles of producer and main star, reprising her role as the fashionable, ambitious, and unapologetically bratty porn actress Maxine Minx from the previous movies. This time, she’s navigating the cutthroat world of 1980s Hollywood with a ferocity and attitude that would make any brat girl proud.

As Chloe Cherry of Euphoria (2019 – present) fame aptly says in the 360 music video, without a “new hot internet girl” to carry the torch, their “kind will cease to exist”. Fear not, for Goth, A24’s reigning scream queen and MaXXXine’s titular star, has answered the call, and she’s not afraid to get her hands dirty.

Having narrowly escaped a massacre in the Texas backwaters (dubbed the Texas Porn Star Massacre), the indomitable Minx has set her sights on Hollywood, trading cornfields for the neon-lit streets of 1980s Los Angeles. By day, she shoots adult films alongside her best friend Tabby, played by American singer Halsey, and by night, she performs in a gritty peep show, all while chasing her dream of legitimate fame in mainstream cinema. Her fierce determination is palpable when she triumphantly exits an audition, proclaiming, “You can all go home, because I just f***ing nailed that!” True to her words, she secures the role, channeling the fear and violence of her past into a powerful on-screen presence that defies her tormentors and propels her toward the stardom she believes she deserves.

Maxine’s big break seems on the horizon when she lands a role in the horror sequel The Puritan II, directed by the formidable and frosty Elizabeth Bender, portrayed with icy elegance by Elizabeth Debicki (The Crown, Tenet). While she should be contending with the industry’s heavyweights like the formidable Bender and her vapid co-star Molly Bennett, played by an effervescent Lily Collins (Emily in Paris, Love, Rosie), it’s the ghosts of her Texan nightmare that continue to haunt her. 

Her past claws its way back into her life when sleazy private investigator John Labat (Kevin Bacon, Footloose, X-Men: First Class) ensures Maxine’s former deeds stay firmly in her present. This intertwining of past and present escalates as LAPD detectives, brought to life by a sharply witty Bobby Cannavale (The Watcher, Nine Perfect Strangers) and Michelle Monaghan (Mission: Impossible, True Detective) weave into her life, blurring the lines between her cinematic horrors and real-life terror as they investigate Maxine’s ties to the infamous Night Stalker serial killer amidst a slew of murders.

Director West weaves together a tapestry of 80s nostalgia in MaXXXine, drawing inspiration from Italian Giallo films (a genre of murder mystery fiction), exploitation flicks, and the works of director Brian De Palma, which include iconic thriller and horror flicks the likes of Scarface (1983) and Carrie (1976). The film boasts a killer soundtrack with ZZ Top and Mötley Crüe beats, meticulous production design, and a generous dose of campy gore. West’s homage to the video nasty era of the 80s is evident in every frame, from the VHS filters to the glitzy lens flares.

However, West’s narrative, brimming with potential, occasionally loses its edge amidst an overabundance of cinematic references that serve more as stylistic excess rather than substantive storytelling. While the film ambitiously attempts to skewer the seedy underbelly of Hollywood’s glamorous facade, it often becomes mired in its own stylistic flourishes. MaXXXine’s intended meta-commentary on themes like film, filth, and feminism struggles under the weight of its own ambition, feeling somewhat superficial and lacking the conviction needed to make a lasting impact.

Ironically, while attempting to critique Hollywood’s self-censorship, MaXXXine seems to fall victim to its own sanitised vision, blunted by its own glossy sheen. The film shies away from the sleaze and grime that define its genre influences, resulting in a polished aesthetic that feels somewhat at odds with its subject matter. Despite a few flashes of creative gore, the overall horror experience feels restrained, as if West is hesitant to fully embrace the genre’s darker impulses. 

Still, lead actress Goth dazzles throughout MaXXXine, standing as a beacon of raw talent and charisma. Goth is given fewer dramatic flourishes compared to her roles in X (2022) and Pearl (2022) – no dual roles or lengthy monologues this time. Yet, she still manages to command every scene with an unsettling sweetness that has become her signature. As a hardened survivor, Goth’s performance is a continuation of her previous work, combining the vulnerability of Pearl with a hardened, vengeful edge that feels both fresh and deeply familiar.

Goth’s Maxine is a mesmerising force who commands attention the moment she graces the screen, her ‘come-hither’ aggression echoing the allure of classic screen sirens like Vivien Leigh (Gone With the Wind, A Streetcar Named Desire), yet imbued with a distinctly modern, chaotic energy. The film benefits immensely from Goth’s ability to anchor the occasionally bumpy narrative amidst its chaotic unfolding, offering a performance that blends the psychological depth of her character’s past traumas with the raw physicality demanded by the genre. The result is a character so deliciously toxic, she could be the muse for a Charli XCX brat girl banger. 

But MaXXXine ultimately feels like a missed opportunity. It revels in its homages, mimicking the aesthetics of Giallo and exploitation cinema without offering a fresh perspective. Instead of dissecting Hollywood’s dark underbelly, it gets lost in its own glitzy reflection, lacking the grit and guts to truly shock or subvert. In the end, MaXXXine is less a scream queen’s reign of terror, and more a stylish but hollow echo of the genre’s past.