“MaXXXine: A Dazzling, Neon-Soaked Finale to Ti West’s X Trilogy”

As I settled into my seat for “MaXXXine,” the highly anticipated conclusion to Ti West’s X trilogy, I couldn’t help but feel a mixture of excitement and trepidation. How would West cap off this audacious series that had already given us the gritty throwback slasher “X” and the technicolor nightmare “Pearl”? I’m thrilled to report that “MaXXXine” not only lives up to its predecessors but in many ways surpasses them, delivering a stylish, thought-provoking, and ultimately satisfying finale that had me grinning from ear to ear.

From the moment the film begins, I was transported to the gaudy excess of 1985 Los Angeles. West and his frequent collaborator, cinematographer Eliot Rockett, have outdone themselves in recreating this era. The neon-drenched streets pulse with an electric energy that’s both alluring and menacing. I found myself drinking in every detail, from the period-perfect costuming to the lovingly crafted set designs that capture both the glamour and grime of mid-80s Hollywood.

At the center of this maelstrom is Mia Goth’s Maxine Minx, and what a revelation she continues to be. I’ve been captivated by Goth’s performances throughout this trilogy, but here she takes Maxine to new heights. Several years removed from the bloodbath of “X,” Maxine has clawed her way up from porn shoots and peep shows to the precipice of mainstream stardom. Goth imbues her with a ferocious determination that’s impossible to look away from. Whether she’s strutting onto a soundstage bathed in hazy sunlight or navigating the treacherous waters of Hollywood politics, I found myself utterly mesmerized by her presence.

What impressed me most about “MaXXXine” is how West manages to honor the slasher roots of the series while simultaneously elevating it into something more cerebral and emotionally resonant. Yes, there are moments of shocking violence that had me squirming in my seat (one scene involving a plaster cast is particularly harrowing), but the real horror lies in the way the film explores the dark underbelly of the entertainment industry and the toll it takes on those desperate for fame.

The supporting cast is uniformly excellent, with standout turns from Elizabeth Debicki as an ambitious horror director and Kevin Bacon as a sleazy private investigator. Bacon, in particular, seems to be having the time of his life, chewing the scenery with his exaggerated Southern drawl and perpetually smoke-tinted aviators. I found myself grinning every time he appeared on screen, eager to see what outrageous thing he’d say or do next.

West’s direction remains stylish and assured, peppering the film with visual homages to cinema’s past that had this film buff gleefully noting each reference. The use of split-screen techniques and a pulsing synth score by Tyler Bates effectively channel the spirit of De Palma and other masters of the era. I was particularly impressed by how West integrates real historical events, like the hunt for the Night Stalker and the moral panic over “video nasties,” into the narrative. It grounds the film in a specific time and place while adding an extra layer of tension to Maxine’s journey.

The soundtrack deserves special mention. From ZZ Top to New Order to Frankie Goes to Hollywood, the needle drops are pitch-perfect, enhancing the mood of each scene without ever feeling like cheap nostalgia bait. I found myself tapping my foot along with the music even during some of the film’s more intense moments.

What elevates “MaXXXine” beyond mere pastiche or nostalgia is its thematic richness. As the story unfolded, I found myself increasingly engrossed in its exploration of trauma, the nature of fame, and the power of media. West doesn’t offer easy answers, instead challenging the audience to grapple with complex questions about art, exploitation, and the sometimes blurry line between the two.

The central mystery surrounding the murders of those in Maxine’s orbit keeps the plot moving at a brisk pace. While some viewers might guess the killer’s identity before the big reveal, I found the journey to that revelation thoroughly entertaining. The way West ties this storyline back to the events of the previous films is particularly satisfying, bringing the trilogy full circle in a way that feels both surprising and inevitable.

When the movie finished, I found myself sitting in stunned silence, processing everything I’d just experienced. “MaXXXine” is a film that demands multiple viewings, not just to catch all the clever references and foreshadowing, but to fully appreciate the depth of its themes and the nuances of its performances.

Is it a perfect film? Perhaps not. There are moments where the pacing lags slightly, and some viewers might find the more cerebral approach less satisfying than the straightforward scares of “X.” However, these are minor quibbles in what is overall a triumphant conclusion to one of the most original and exciting horror trilogies in recent memory.

“MaXXXine” proves that Ti West is a filmmaker at the height of his powers, unafraid to take risks and push the boundaries of the genre. It’s a love letter to 80s cinema, a scathing indictment of Hollywood’s darker impulses, and a showcase for Mia Goth’s undeniable star power. As I left the theater, I found myself already eager to revisit not just “MaXXXine,” but the entire trilogy, to appreciate how West has crafted such a cohesive and compelling narrative across three distinct films.

For fans of the X trilogy, “MaXXXine” is an absolute must-see, a satisfying conclusion that ties up loose ends while leaving just enough ambiguity to keep you thinking long after the credits roll. And for those new to West’s work, it serves as a tantalizing entry point into a filmmaker’s vision that is truly one-of-a-kind. In a landscape often dominated by formulaic franchises, the X trilogy, and “MaXXXine” in particular, stand as a testament to the power of original, daring filmmaking. It’s not just a great horror film; it’s great cinema, period.

As I reflect on “MaXXXine” and the trilogy as a whole, I’m filled with a sense of excitement for what Ti West and Mia Goth might do next. Whatever it is, you can bet I’ll be first in line to see it. For now, though, I’m content to bask in the neon-soaked afterglow of “MaXXXine,” a film that manages to be both a loving homage to the past and a bold step into the future of horror cinema.