80s Slasher MAXXXINE Delivers Gruesome Gore & Hollywood Nostalgia

Determined to make it big in Hollywood, a young starlet with a dark past will stop at nothing to see her dreams come true, even with a serial killer on her heels. Starring Mia Goth, MaXXXine serves up the next slasher treat for Ti West’s trilogy. With its 80s flair and over-the-top gore, it embodies a new level of ferocity with Goth at her finest.

While she has had a successful career in adult entertainment, Maxine (Goth) has her sights set on big-screen stardom. Now living in Los Angeles, she auditions for a role in an upcoming horror sequel. The film is being heavily protested by religious groups just as LA is dealing with a series of killings by someone dubbed the Night Stalker.

Having already survived some horrific things only a few years prior, Maxine doesn’t fear much. But as her big break is just within reach, the satanic serial killer starts choosing victims a little close to home for the actress.

After a 1970s Texas massacre in X and a technicolor prequel for Pearl, writer/director Ti West transports us to 1985, where satanic panic is all the rage. The film grounds itself in the reality of that time by connecting it to the real crimes of Richard Ramirez and societal impacts. But beyond that, it also captures the aesthetic so perfectly. From the gritty Los Angeles vibes and fashion to the techniques in the production, MaXXXine nails that 80s sleaze of slasher films from the decade.

A standout is the practical effects. The film does not hold back from the gore, upping things from the previous installments. It boasts some effective moments that would make any classic slasher film proud. And I loved how they leveraged the same style and methods from a 1980s horror movie to ground in even more in the period.

But that affection for classics isn’t just with bloody effects. Maxxxine is soaked in Hollywood iconography and history (which stole my cinema-loving heart). Like the others, West delivers a theatrical experience that brings forth the components of the era it’s set in. He blends slasher and noir, giving it the feeling of a “B movie with A+ ideas”.

That’s actually a line in the film, one example of how it adds a level of meta-ness.

Another is when Maxine has a moment with her director Elizabeth Bender (Elizabeth Debicki). Elizabeth describes the character Maxine is portraying as a “killer but not a villain”, which again, just so perfectly encompasses the film and its protagonist.

While I enjoyed so much of the movie, I did find the third act to lack a punch. The reveal feels lackluster, as it’s easy to piece together early on. And the editing for the final few scenes makes the ending feel a bit messy and a bit confusing.

But despite that, MaXXXine showcases West’s ability to deliver a self-aware script with added wit. There’s something ultra-magnetic about West and Goth’s collaboration on this franchise. Goth has always been a commanding presence, but this time it feels fully embraced in a new way, even from supporting characters. While we get a fiery way to end the series, I think most of us hope to see Maxine back again.

MaXXXine is in theaters Friday