With MaXXXine, Ti West completes his trilogy, exploring the relentless pursuit of dreams and the intricate dance between self–determination and fate. Each film—X, Pearl, and MaXXXine—is marked by a distinct style and, despite individual flaws, each is a must watch as they delve into just how far one is willing to go to achieve their dreams.
X, the first in the series, sets the stage with a gritty, Texas–Chainsaw–Massacre–esque style and plot that subverts typical slasher film tropes. Traditionally, the “final girl” trope is a utilized as a beacon of innocence amidst the carnage. This archetype often survives by adhering to conventional moral codes, contrasting sharply with the other victims in the group, who engage in behaviors traditionally deemed “immoral.” The final girl is pure and virtuous.
Maxine defies these conventions. As a participant in the adult film industry, she is representative of a stigmatized world. Her desperation for fame and success—and her unapologetic embrace of her sexuality as a means to that end—would normally mark her as the first kill in any other slasher film—not the sole survivor and main character. As joked in Scream, sex is the one way ticket to getting killed. This divergence from the archetype forces viewers to reconsider the traditional parameters of morality and purity that have long defined the final girl. Rather than surviving due to fate predetermined by morality, Maxine survives by taking agency and saving herself.
X delves deeper into the themes of aging and the unforgiving passage of time. Pearl, the antagonist that is killing the lot, is an elderly woman, who was once extremely ambitious in her quest to become a star and remains prideful of her former beauty. Pearl’s unfulfilled dreams and her physical decline starkly contrast with Maxine’s youthful vigor. While Mia Goth plays both Pearl and Maxine in this film, she is completely unrecognizable as Pearl—thus so much physical beauty is lost to time. This dynamic is highlighted when Pearl, in a desperate attempt to reclaim a semblance of her lost beauty and vitality, gropes Maxine, grasping at the chance to capture some of the allure she once possessed. X contrasts the youthful ambition of Maxine with the decaying, frustrated ambition of Pearl.
In Pearl, the theme of dream–chasing is painted in bright, technicolor strokes, contrasting the dark and grotesque reality of Pearl’s psyche. A young Pearl is relentless in her quest to become a star, eliminating anyone she perceives as an obstacle. Despite her extreme efforts, her destiny is to be stuck on the same farm that she grew up on. The irony is palpable: Pearl’s control over her actions is absolute, yet her dream remains unattainable. It’s a haunting exploration of how single–minded ambition can warp one’s humanity, turning loved ones into mere obstacles to be swiftly removed.
Out of the trifecta, Pearl was by far the standout. The story is concise while remaining defined and purposeful, with an incredible performance on the part of Goth. The film’s brilliance is epitomized in my favorite scene—the seven–minute monologue at the end, where Pearl reveals that she knows the severity of her actions but doesn’t care, as she performed them to serve her own interests. Goth’s delivery is tantalizing to watch, weaving between teary and terrifying.
“I know what I’ve done, the bad things, terrible, awful, murderous things. I regret them now, but I liked how they felt. I wish I didn’t, but I did.”
The movie culminates in a three–minute, unbroken smile from Pearl. Goth’s ability to convey the complexity of Pearl’s character in such a powerful and haunting way solidifies the film as Ti West’s best.
Finally, the recently released MaXXXine brings a bombastic, stylized approach, perfectly encapsulating the ‘80s by blending glitzy montages, wipe transitions, and split screens. This vibrant style, while sometimes overshadowing the narrative, sets the tone for Maxine’s journey to stardom. The journey is marked with exaggerated, stylized kills that mark each progression in Maxine’s character. Each kill is uniquely defined, whether providing comedic relief, proving Maxine’s confidence, or showcasing her change in perspective.
MaXXXine probes deeper into the dichotomy of purity versus impurity in Hollywood and the tension between fate and personal agency. For instance, Maxine gives pointed looks towards a group protesting against the sexuality present in Hollywood, but nothing ever comes of these looks. West seems to only scratch the surface of these themes in this film, leaving audiences with thought–provoking topics rather than definitive statements (or any meaningful statements at all).
Within the trilogy, MaXXXine has the least direction and focus. It attempts to be stylish and substantial, with moments the audience can latch on to as elements of easily identifiable feminism. However, in the ambitious quest to achieve all these things, Maxine the character lacks realistic reactions and rewarding emotional growth. Moments clearly crafted to incite audience reaction are poorly established in the beginning, so when these moments occur, the audience has no emotional stake in them. The audience is told by West that they should feel something when they see Maxine react—but even then, she quickly forgets and moves on, and thus we do too.
While Ti West’s trilogy offers a captivating exploration of ambition, control, and fate, the trilogy also offers the necessary reminder of the delicate balance between navigating the three.
