Mia Goth and Halsey take center stage in Los Angeles in MaXXXine.
With MaXXXine, the latest entry in their X trilogy, Ti West and Mia Goth emerge as horror’s newest powerhouse duo. Just two years ago, the writer-director and actress-producer dazzled SXSW audiences with the intensely violent slasher X, propelling it to theatrical success. Four months later, they revealed Pearl, a prequel that delved into the original film’s villain’s tormented backstory. Where X channeled the gritty essence of Tobe Hooper’s iconic 1974 slasher, The Texas Chainsaw Massacre, Pearl offered a whimsical yet sinister take on Technicolor classics like The Wizard of Oz and Mary Poppins.
The two films formed a unique fairy tale, where one princess evolved into a wicked queen. What does this imply for MaXXXine, the sequel following X’s sole survivor to 1985 Los Angeles? Like its predecessors, it’s centered on sex and murder. This time, though, West draws inspiration from film-noir classics set in L.A., such as Roman Polanski’s legendary 1974 hit, Chinatown. While the film starts strong by exploring peep shows and studio backlots, something feels missing as West and Goth rush to a climax that seems unworthy of its build-up.
The Plot Unveiled
Set six years after X, MaXXXine focuses on Maxine Minx, now a successful porn star aspiring to break into mainstream Hollywood. She believes that landing a role in the sequel to the popular gory horror movie The Puritan is her chance at legitimate stardom. However, getting cast is just the start; she must survive a leather-gloved stalker who’s systematically killing her friends.
A Rudimentary Final Girl
Maxine is not easily intimidated—not by her narcissistic director (Elizabeth Debicki), aggressive LAPD detectives (Michelle Monaghan and Bobby Cannavale), or even a white-suited private eye played by Kevin Bacon. When murder investigations jeopardize her budding career, she stands firm against the unknown assailant. Her mantra? I will not accept a life I do not deserve.
Mia Goth’s Continued Excellence
The baby-faced British actress has worked with extraordinary directors like Lars Von Trier (Nymphomaniac), Gore Verbinski (A Cure for Wellness), and Luca Guadagnino (Suspiria). Yet it seems to be West who best showcases her talent. In X, Goth portrayed both the ambitious Maxine and the murderously libidinous Pearl. With Pearl, she spoofed an ingenue tale in a performance that balanced vulnerability with dark humor. In MaXXXine, she locks away Pearl’s insecurities, leaning into Maxine’s dangerous self-confidence. Witnessing her stroll onto studio lots while belittling competition adds undeniable thrill but risks rendering her clichéd in the finale.
Spot-on Satire of Showbiz
The highlights of MaXXXine are its clever depictions of Hollywood’s absurdity. The film-within-a-film concept, featuring The Puritan II, destined for trash but treated by its pretentious director as high art, is excellent satire. In an audition where Maxine must cry on cue and bare her breasts, she complies as if completing routine paperwork. This absurdity reaches its apex during a chase scene through Universal Studios’ backlot—including locations like the Bates Motel—a nod to Hollywood’s facades and survival tactics.
A Troubling Conclusion
The initial allure of tremendous potential falters due to an unsatisfying ending. Throughout much of the film, elements like neon lights, leather pants, bursts of blood, cocaine snorts, and reactions from cast members Giancarlo Esposito and Moses Sumney elevate the atmosphere. Yet when screenwriter West reveals the true villain, it disappoints—predictable rather than intriguing. The conclusion in Hollywood Hills is packed with action but feels ill-suited compared to the captivating satire earlier presented. Rather than sticking to sobering conclusions typical of noir tales like Sunset Boulevard, MaXXXine opts for franchise-expected body counts and lore-building.
This imbalance undercuts what could have been West and Goth’s best collaboration yet.
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