Ti West and Mia Goth's rewarding conclusion to their epic horror trilogy, Maxxxine, masterfully flirts with cinematic stylings and homages to Hollywood history. As the final chapter in the saga, it combines the stylistic flair of 80s gialli with deep thematic exploration, creating a film that is as intellectually stimulating as it is viscerally thrilling.

Maxine Minx (Mia Goth) is determined to transition from adult films to mainstream Hollywood, landing an audition for the horror movie sequel The Puritan 2. However, her journey to stardom is jeopardized by a mysterious figure (Kevin Bacon) threatening to expose her involvement in a violent massacre in Texas (events from X). Meanwhile, a serial killer dubbed The Nightstalker is terrorizing Los Angeles, targeting those close to Maxine. As she navigates the treacherous waters of Hollywood and her past, Maxine must confront her demons to achieve her dreams.

Mia Goth digs her heels in and delivers another powerhouse performance, solidifying her status as a true star. Her fierce and unflinching energy takes complete command of the screen. Giancarlo Esposito is refreshingly hammy as Maxine's agent/lawyer, bringing a delightful mix of sleaze and charm to his role. It’s a wonderful departure from his typical roles of late that all feel very Gustavo Fring adjacent. Kevin Bacon chews the scenery and appears to be having a ball. While Esposito and Bacon, were the highlights of the supporting cast, there’s weak links in the cast.

Maxxxine is drenched in 80s gialli vibes, complete with a gloved killer and incompetent cops, paying homage to the era's iconic thrillers. The film is a visual and auditory feast, with needle drops galore and wonderfully executed gore that never feels gratuitous. Despite its stylish veneer, the film always retains its thematic core, using its aesthetic elements to enhance the narrative rather than overshadow it.

Elizabeth Debicki's character, director Elizabeth Bender, guides us through the thematic explorations of the film and perhaps the entire trilogy. Her character, mainly when she tells Maxine, "Congratulations, you've made it to the belly of the beast," encapsulates the trilogy's incisive critique of the entertainment industry and its moral decay. Bender takes us through the Hollywood studio lot, including a tour of the infamous Bates motel, while expressing her desire to show that underneath the technicolor sheen of the 1950s, things were just as rotten as they are today. Bender's insights clarify the thematic reasoning for the visual aesthetic choices of all three films, emphasizing the contrast between Hollywood's glossy exterior and its underlying corruption.

Maxine's journey highlights the sacrifices and dehumanization involved in the quest for fame and stardom. The film critiques the industry's influence on societal values, showing how the commodification of sex and violence impacts both individuals and culture. It also explores the tension between Hollywood's allure and the moral panic it incites, emphasizing the hypocrisy of those who condemn it while engaging in equally immoral acts capped by Maxine's haunting final words and the symbolic transformation of the Hollywood sign. The thematic easter eggs and Hollywood references are almost impossibly dense to catch after a single viewing and beg to be rewatched. Like the Hollywood star Theda Bara, one of Hollywood's earliest sex symbols and namesake of the gator in X and Pearl, I want to comb the backgrounds for posters on the wall. It's one of those fun features that film nerds can obsess over across multiple watches.

While Maxxxine is an exhilarating ride, I had some issues with the film. The shootout sequence feels clumsy and out of sync with the more intimate, methodical kills that define the franchise. This clumsiness makes the climaxxx not quite reach the heights the trilogy deserved. Additionally, the film does not work well as a standalone piece, relying heavily on the events of X for context. West attempts to splice in some flashbacks to fill in those gaps and jog the memories of viewers who have yet to see X or Pearl, but more would have been needed to make Maxxxine standalone viewing. These incredibly brief clips detract more than they add, and I would have preferred that they had been cut. While it is possible to skip Pearl, doing so would be a disservice to the rich, interconnected narrative that West has crafted.

Maxxxine is an absolute blast in the theater, offering a satisfying conclusion to a bold and innovative trilogy. West and Goth have poured so much into these films. For those willing to engage with its layered themes and embrace its stylistic flourishes, Maxxxine is a rewarding and unforgettable cinematic experience.

— 4 / 5 ⭐