MAXXXINE
****
Directed by Ti West.
Starring Mia Goth, Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito.
Horror, US, 104 mins, Certificate 18.
Released on Limited Edition and Standard Edition 4K UHD by Second Sight on 17th November
The sequel to 2022’s X follows the tonal shift engineered by the widely admired PEARL and takes us back to slasher territory. More specifically, the backdrop and soundtrack of MAXXXINE (styled as “MaXXXine”) returns us to that glorious period of urban maniac movies in the early 1980s from the prestigious likes of William Friedkin, William Lustig, Brian De Palma and Abel Ferrara. Fans of a certain age and disposition will appreciate the visual and thematic echoes of seedy neon-enhanced shockers like CRUISING, MANIAC, BODY DOUBLE and FEAR CITY.
It's Los Angeles, 1985. MAXXXINE immediately acknowledges the enduring ageism and sexism of Hollywood by opening with a Bette Davis (mis)quote (“Until you’re known in my profession as a monster, you’re not a star”) and ending with Kim Carnes’ 80s classic “Bette Davis Eyes”. The soundtrack accommodates a suitably synth-infused original score by returning composer Tyler Bates, alongside choice cuts from Frankie Goes to Hollywood (continuing the BODY DOUBLE connection), ZZ Top and New Order.
The title character is essayed again by the ever-engaging and endlessly watchable Mia Goth. Maxine is approaching 33, which means her career as an adult movie star is in danger of petering out. Not that a mainstream acting career is guaranteed for a woman who, in Hollywood’s eyes, is hurtling dangerously close to her period of “mom” roles. We first see her auditioning for a horror picture, bidding for scream queen status. You’d imagine that Maxine’s experiences here might be akin to the glamorous ladies who adorned the pages of Fangoria (and more tailored genre mags like Femmes Fatales) back in the day: Brinke Stevens, Linnea Quigley, etc.
While a serial killer targets young women, marking their bodies with a pentagram, Maxine works on a horror sequel pretentiously described by its director as “a B movie with A ideas”. Even when supposedly turning “respectable”, however, she faces the wrath of protestors lamenting her participation in the kind of film that might deprave and corrupt. This thread echoes the pearl clutching hysteria surrounding horror and heavy metal in the 1980s, from the furore surrounding DRESSED TO KILL to Satanic Panic and the introduction of Parental Advisory stickers on music to make them more appealing to thrill-seeking kids. ST. ELMO’S FIRE is playing in cinemas, the Night Stalker is on the rampage, cocaine is in every dressing room, New Coke is in stores, and President Reagan is spouting some nonsense. The underlying commentary on the moral majority (“America was too prudish to notice”) is a delight for anyone who lived through the madness.
West has his most impressive cast to date, with Giancarlo Esposito rocking a fabulous toupee while Kevin Bacon even manages to wear a tash in a smarmy way. It also has the gaudiest gore of the series – notably an early testicle-stomping – and a witty cameo from a contemporary issue of Fangoria (remember that FRIDAY THE 13TH: A NEW BEGINNING cover?). Specific genre references cover everything from PSYCHO (with the Universal backlot enabling a cameo from the iconic Bates house) to Kensington Gore, while the primary colour-dominated visuals, killer’s garb and motives could have come from a Sergio Martino giallo of the 1970s. Even better, the climax delivers a gore gag worthy of vintage Tom Savini and an entirely appropriate sign off for our heroine.
For the time being, PEARL/MAXXXINE fans will have to look to other territories for a comprehensive 4K edition of X – but this sumptuous UK release is an essential shelf mate to Second Sight’s simultaneously released PEARL. This also comes in an alluring hard box with new artwork (from OC Agency Group) and a 120 page book of essays. The movie looks suitably sleek and seedy in gorgeous 4K, with a vivid Dolby Atmos track accentuating the excellent soundscape.
Some behind the scenes featurettes are ported over from existing releases: “The Belly of the Beast”, “XXX Marks the Spot” and “Hollywood is a Killer” (totalling around half an hour) have Goth, Bacon, Halsey and make-up designer Sarah Rubano (among others) talking us through the L.A. shoot, visual aesthetic and Maxine’s trajectory. There’s also a 25 minute Q&A session with West and his cute dog. The new extras include Kat Hughes’ video essay “The World’s Gonna Know My Name” (15 mins) and a fun commentary from Bill Ackerman and the always delightful Amanda Reyes. Their discussion encompasses a wide range of cultural references, from Madonna music videos to SAVAGE STREETS and covers a lot of thematic ground.
West talks about the X trilogy and the need to avoid repeating himself in “Back to Blank Page” (16 mins), noting how major actors came on board because of their love for the earlier films. Producer Jacob Jaffke recalls how, despite not being a horror fan, he ended up originally pitching Ti’s “horror porno” idea in “Money on the Screen” (30 mins), while guiding us through the logistics and expense of putting 70 period cars on the L.A. streets in 2024. Cinematographer Eliot Rocket talks us through shooting a pseudo 80s thriller in “B Movie Aesthetic” (21 mins) and discusses that superb shot of Maxine at the Warner Bros. stage. “Curating Space” (24 mins) is an excellent audio guide from production designer Jason Kisvarday about how he set about creating “the Los Angeles of REPO MAN”.
It's a spectacular release of a hugely entertaining trilogy-capper. Don’t bother with that Christmas present for that relative you never liked much anyway – and treat yourself to this instead.
Steve West