After the one-two punch of “X” and “Pearl,” “MaXXXine” is a thrilling conclusion to an outstanding slasher trilogy.
was not only a smash success that made its $1 million budget back 15 times over, but it also drew a cult following of devoted fans, eager to watch the trilogy’s shining star Mia Goth slash, smash, and gnash her way through the franchise. Its prequel,until the first film’s release—made an even bigger splash.
It’s no help that the Night Stalker—a real-life serial killer who terrorized Los Angeles in the 1980s—is lurking, making things even more dangerous for Maxine and her sex-worker friends. When a copycat killer pops up, embellishing victims with pentagrams, it appears that Maxine is the common link between the corpses, and our burgeoning starlet must finally come to terms with what happened at that little Texas farmhouse six years prior.
For someone as stubborn and independent as Maxine Minx, that won’t be easy. “Do you know what happened to the last person that tried to kill me?” Maxine asks an assailant early in the film. “I crushed her fuckin’ head.” There’s a deadly price for crossing this heroine, and West gets some of his most outrageous violence into his last installment. In a franchise with wildly memorable and inventive kills and gore,finds fun, fresh ways to introduce bloodshed into the story.
That layer of gravity is always present, but West knows how to have fun, too. Whether he’s being cheeky by introducing us to Maxine’s agent, Teddy , at the TNA agency , or making sure his thriller gets its obligatory chase scene, there is oodles of entertainment to be had here. West knows how to energize an audience, and he builds that energy out from stylish, dazzling single frames. His use of existing studio backlots, especially for that chase, is the consummate touch of a visionary director.
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