Maxxxine is a killer closer. Courtesy of writer-director Ti West, this sequel to X (2022) completes a marvelously macabre trilogy. Bathed in the best of Eighties panache, this is a B-movie with A-plus cinematic stylization. Maxxxine brings to conclusion a marvelous series of films which elevate horror without becoming pretentious.

The film follows Maxine Minx, an adult movie star haunted by a grim past. After landing a role in a proper Hollywood picture, years of hard work have finally set her on the yellow brick road to stardom. However, a ruthless killer is after this rising starlet. Brutally butchered bodies begin showing up around town, and though the exact connection to Maxine remains a mystery, she knows something sinister is closing in. With everything from her life to her dreams on the line, she’ll have to face the darkness coming at her. 

Thematically, Maxxxine carries on notions explored in the previous pictures Pearl (2022) and X. Each touches on the idea of cinematic stardom by examining different eras of filmmaking. X ventured into the gritty realm of 70s exploitation films, while Pearl took on the garish charm of classic Hollywood pictures. Maxxxine completes the trilogy by handling the neon saturated VHS era of 80s slasher flicks. These are movies about how films are made, while perhaps more importantly, why people make them. But besides cinematic stylization, the trilogy delves into themes of misogyny, loneliness, celebrity, and sexuality.

One thing that sets Maxxxine apart from most horror sequels, though, is the growth of the main character. Once again portrayed magnificently by Mia Goth, this isn’t any old school final girl. It risks spoilers even hinting at this, but Maxine is as dangerous as the killer stalking her, something made abundantly clear in gloriously gory detail. It shows the past having a real effect and Goth is more than capable of displaying the hardened edge her character has grown. Furthermore, it means Maxxxine isn’t simply rehashing old notes from the last bloodbath.

​In fact, there’s an intriguing lack of blood. Make no mistake, the slaughter in this flick is gruesomely effective. Yet, there’s a restraint, saving the worst for specific kills in order to emphasize the brutality of what occurs. Ti West never shies from pushing the boundaries, but each instance matters because they stand out instead of blending into a nonstop bloody collage. 

Although full of nostalgia nuggets, Maxxxine never induces nausea overindulging in them. They exist as excellent production elements highlighting the time period rather than nudging the audience towards unearned feelings. Still, as someone who remembers the 80s, there is an unmistakable delight seeing era appropriate cash, classic Coke cans, and Styrofoam fast-food containers. Yet, these elements are never the draw and Ti West wisely leaves them as background details enhancing the reality of the film rather than engaging nostalgia triggers.
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Any sentimentality is more likely derived from references to Hollywood history. However, even then, such easter eggs often tie into Ti’s trilogy as much as Tinseltown’s past. For instance, Theda Bara’s star on the walk of fame brings up a Silent Era celebrity, Hollywood’s first sex symbol, but also a favorite of Pearl, the dangerously unhinged villain in Pearl and X, who named her alligator after the actress. So much is tied into a momentary shot it’s easy to realize how much care has gone into the composition of Maxxxine.

Stellar needle drops not only fill the film with solid music from the 1980s, but expertly enhance moments in the movie. The use of “Prisoner of Your Eyes” by Judas Priest adds sadness to a demise, while “Bette Davis Eyes” by Kim Carnes bookends a movie that opens with a quote from the legendary actress. And that’s not even mentioning the phenomenal score composed by Tyler Bates. Maxxxine is another gem in a career that already includes pulse pounding compositions for the John Wick franchise as well as Guardians of the Galaxy and several Rob Zombie flicks. From synths to the guitarviol, Bates uses a variety of means to add a retrowave vibe that enhances the mood while cementing Maxxxine in 1985.
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Besides expertly setting up shots, Ti West reunites with cinematographer Eliot Rockett, who worked on the previous parts of the trilogy as well as The Innkeepers (2011) and The House of the Devil (2009). They often manage to capture the mercury vapor glow that distinguished the 80s. However, West also edited Maxxxine, allowing him to control the final outcome. Perhaps that’s why the pace is so perfect, especially during scenes that feature clever cinematic flair. This movie is almost an auteur’s vision while being a love letter to an era of horror. 

​Helping to bring that vision to life is a captivating cast. Mia Goth owns the screen in every instant. Maxine is a troubled mix of fierce and fragile which Goth delivers in stunning displays. But what’s most impressive is how different her character seems from the portrayal in X, emphasizing how much the events of that film affected her. Elizabeth Debicki adeptly portrays Elizabeth Bender, a stoic yet intense director with high ideas for horror. Icy yet passionate, she conveys the best and worst of Hollywood. Meanwhile, Kevin Bacon is admirably odious as a sleazy private investigator whom the audience will love to hate. Musicians Moses Sumney and Halsey play Leon and Tabby Martin, friends of Maxine who really help humanize the character. Bobby Cannavale and Michelle Monoghan play a pair of humorous detectives who border on cliché but deliver the seriousness their roles require. Giancarlo Esposito is wonderful as Teddy Knight esq., a slick erotic entertainment agent who backs Maxine regardless of the buckets of blood spilled.
 
Sly humor and sanguine horror mix as this macabre mystery unfolds. Ti West captures the look alongside the feel of 80s slasher classics while sticking the landing on a trilogy that is as much critique as creep show. Even if it stood alone, Maxxxine is a marvelous nightmare. Blending the real past with Hollywood history, it creates a fictional world of frights that’re as tangible as they are gory. Sexy while criticizing the male gaze, a story of fragility that’s also empowering, and just an all-around fun mystery; Maxxxine is a killer fright flick.

By the by, if you’re one of the cocktail crowd, A24 offered up this signature drink at the screener I attended. Feel free to follow the recipe below and enjoy a Scream Queen while watching Maxxxine.
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SCREAM QUEEN:
Don Q ® Cristal Rum
Liber & Co. ® Pineapple Gum
Pressed lime juice

​It’s been a strange couple of weeks. One of my best friends died somewhat unexpectedly. Although he’d been terminally diagnosed things went a lot faster than expected and he zipped out of existence. It’s been said before, in more eloquent ways, but there’s no telling when death is coming. I’ve been dealing with that (helping with the funeral, being there for the family, etc.), however, eventually the living got to get back to life. Granted, with thoughts of mortality looming a lot of things seem trivial, yet we all need a distraction from such thoughts. Art may be in its most noble sense a look at society, dissecting what it is, what it values, and presenting either the ugly or ignored beauties of humanity’s inner being. But it’s also a way of not thinking about the end, especially as creativity creates a sense of leaving something behind. 

May kicked off with an absolutely phenomenal film. The Last Stop in Yuma County is the kind of movie that isn’t made on mass. That’s partly because it’s a product of several similar features, but navigating an established formula, writer-director Francis Galluppi crafts a tense thriller with a lightning pace. Clocking in at a smooth hour and a half, The Last Stop in Yuma County doesn’t waste a second delivering its clever take on a familiar premise. Events unfold so quickly even those sure they can predict the outcome will be shocked by the speed and violent outcomes which ensue. For more reasons why you should check out this flick, read the review linked below.

The Last Stop in Yuma County Is a Must See | Film Obsessive

Right before April ended, I got to review a supernatural flick called Winter Island. It told the story of a family disintegrating after the disappearance of the youngest daughter. In many ways it’s more drama than horror story, but there is a chilling gothic quality to the mental unraveling of the main characters.

In addition to reviewing the film, I was also privileged enough to get a chance to speak with the filmmakers behind the picture. Director Tony Doupé and writer-cinematographer Chris Taylor joined me for a Zoom chat. They were very generous with their time, allowing me the opportunity to ask them about making, not only this movie but feature films in general. Delve into that Q&A by following the link below.

I think it’s very informative, especially for anyone making a move into indie filmmaking. Tony and Chris were quite candid about some of the decisions they made. For instance, they made it plain that they steered towards a horror flick because netting cash for such productions is easier than a straightforward drama. Similar candor can be heard throughout, so soak up what pearls of wisdom you can.

Chris Taylor and Tony Doupé Talk Winter Island | Film Obsessive

I was initially overjoyed to get to see a few premieres at the Chicago Critics Film Festival hosted by the Music Box Theater. First off, that’s one of my favorite venues in the city. So much so I gushed about it during my interview with the Winter Island filmmakers. (I thought that was where their film was premiering in Chicago, but later I discovered they were showing at Facets. Another fine facility, but I imagine it may’ve felt a step down after my ringing endorsement of the Music Box). Regardless, I have to say it was another instance of me feeling out of place among my fellow critics.

The first film I saw was a comedy dud called Babes. Directed by Pamela Adlon, it was an attempt at an irreverent comedy about pregnancy. However, the film fails on so many levels it feels like a shameless waste of a great opportunity. One of the problems is that, in an effort to be positive about pregnancy, they never highlight any of the pitfalls. Everything is so idealized the film ignores every opportunity for insightful comedy as well as drama. It shoehorns in moments that are resolved by monologues and blatantly ignores consequences that would result from certain decisions.

Yet, despite being a mediocre, infrequent smirk inducing waste of time, the theater full of wine drunk critics guffawed with the theatricality of classically trained performers. It was as if the audience felt if they forced themselves to laugh hard enough Pamela Adlon, who was there for a Q&A, would thank them personally. It was a room full of employees laughing at the boss’s bad jokes, and I know this for a fact because seated at the rear of the theater—the farther people were from Adlon, the less laughter I heard. In fact, people around me were whispering, “What are they laughing at? Was that supposed to funny?”

For more on why this film doesn’t work, follow the link.

Babes Is a Bouncing Baby Bust | Film Obsessive

Something similar happened with the second film I went to I Saw the TV Glow. Although Film Obsessive passed on my review, I still posted it on this site. First off, I think the movie is good. However, everyone else who attended seems to believe this is an unparalleled piece of cinema.

Let me be clear. I Saw the TV Glow manages to capture something David Lynch does that few other filmmakers come close to. The cinematic expression of a dreamlike world ruled by its own logic and emotion is there, and the film, thanks to its stellar cast, is quite adept at evoking the feelings it depicts on screen. However, I’ve seen so many reviews which bend over backward to pretend as if writer-director Jane Schoenbrun isn’t following the formula of filmmakers such as David Lynch and Terence Malik like a roadmap. And there’s nothing wrong with them (Jane) doing that. Tarantino does it all the time. But pretending this movie’s influences aren’t obviously on screen acts like the filmmaker has made something completely unique. I Saw the TV Glow is preciously rare, too few films have this ethereal, effecting potence, yet acting like it isn’t absolutely following the path of its predecessors gives it an odd praise. It’s like saying a building was designed using geometry while insinuating the architect made up all the geometry that they followed instead of pointing out which preexisting rules they obviously used, employing them better than others.

Again, I Saw the TV Glow is a good movie. And I detailed exactly why I think so in my review. However, my experience at the Chicago Critics Film Festival gave me the impression of people so desperate to be at the forefront of discovering the next new thing they’ll distort the view to fit the narrative rather than print the facts.

I also take umbrage with how one of the organizers Steven Prokopy introduced the film by talking about how much Paul Schrader, writer of Taxi Driver (1976), loved the film. He did a similar gushing over Babes before it screened as well. It just doesn’t sit right with me that he essentially opened the film by basically saying, “This movie is genius, so says an Academy award-winning Hollywood legend.” Well, if Paul Schrader liked it, I guess us peons ought to as well. But even if someone didn’t succumb to such sidewise influencing, the other shift could be as bad for I Saw the TV Glow. Imagine someone who hated Schrader hearing he loved the film then souring on this flick before it ever screened.

Now, I’m not saying Steven Prokopy did this on purpose. He struck me the same as any overly enthusiastic film nerd, so delighted to be there, sharing the stage with moviemakers, he may have lost a touch of objectivity; he simply wanted to emphasize how much he hoped all would have a good time. But you could hear the room murmuring in drunk excitement the second he mentioned Schrader’s praise—hipsters hopped up on IPAs anxious to see the latest avant-garde evolution and be among the first to declare, “I have seen what he saw!”

Anyway… there’s a lot of good reasons to see I Saw the TV Glow, and if you’re curious, check out the link.

REVIEW: I Saw the TV Glow Lights Up a Nightmare - Honesty Is Not Contagious

After that I spent some time composing an article on the history of cinéma verité and how it connects to mockumentary films. I did this specifically by focusing on the short film Trailer Park Boys (1999). This film would eventually serve as the pilot that spawned the wildly popular tv series of the same name. Tracking down a version of the original film proved a powerful pain in the ass. The first one I came across was subtitled in some Eastern European language – good comedy knows no borders – but fortunately, I found a better copy online to grab some pics. And by better, I mean clearer images.

In many ways, this retrospective also explored Trailer Park Boys as a fantastic piece of indie cinema. It was made on pennies lining a shoestring and proved that quality storytelling alongside intriguing characters will make up for low budget limitations.

With that in mind, to learn more about cinéma verité as well as how to use it to get around cash restrictions, check out the link below.

The Cinéma Vérité of Trailer Park Boys | Film Obsessive

Coming in on the close of the month, I checked out a Disney documentary about the Beach Boys. This was an interesting look at their music more then the members of the band. A lot of similar docs tend to get sidetracked focusing on Brian Wilson. His drug addiction, mental health issues, and him being the creative force behind the band, often pushing them to innovate when the other musicians wanted to stay in the riskless familiar makes for easy narrative drama. However, this exploration of the iconic group almost goes out of its way to avoid discussing anything unpleasant.

On the one hand that leaves an incomplete portrait of these pioneers of surf rock. On the other, it makes the documentary more of a primer on their music than a look at the legends. For those unfamiliar with the Beach Boys that may be a good thing since other docs do a better job of delving into the grime. For more on what worked and what didn’t, click the link below.

The Beach Boys Shines by Avoiding Grime | Film Obsessive

Finally, May ended with In a Violent Nature. Filmmakers were kind enough to send me a screener link for this experimental horror flick. At first glance, it seems like any other slasher film with heavy influences from films like Hatchet and Friday the 13th. Yet, the innovative way its shot sets In a Violent Nature apart. Though the feature isn’t as excellent as it could have been, the minor flaws seem more like an invitation for someone to take this stylization and do something better with it. In other words, I sincerely hope In a Violent Nature inspires future horror films. Cinematic experimentation is the key to making old ideas feel fresh.

REVIEW: In a Violent Nature is a Bloody Meditation - Honesty Is Not Contagious

That’ll do it for this round up. Obviously, the other big news is that May saw the release of LESSENS the fifth album by my BEERFINGER music project. However, I really want to sit down to write a full article about that on its own. There’s a lot I want to say about this album as well as what it means for future music projects going forward. Until then, stay safe, keep weird, and if you’re accused of murder don’t rat out the crows. Cheers!