Mia Goth, the current apple of horror’s eye, once again excels in her second time taking on the devilishly slick and meticulously deep character of Maxine Minx, an ex-adult film star who, after the deadly massacre in X (2022), takes Hollywood by storm. However, after a string of brutal murders by a mysterious killer strikes ‘the Hills’, Maxine is once again thrust into a world of terror. Ti West’s now completed X trilogy has seen nothing but praise for his take on the dark side of the desire for fame, coupled with a tinge of meta-esque storytelling and a dash of sinister yet tremendously wicked violence.
Just like the previous films, X and the surprisingly dense character study Pearl (2022), MaXXXine has no qualms in showcasing West’s dedication to all things ‘big screen’. The ‘X’ series is akin to that of a love letter regarding filmmaking, performing and what it takes to be a star. In true West fashion, the constant nods to the ‘golden age’ and the sacrificial nature of stardom all collide to create a trilogy that espouses the stunning but dark side of excelling in a cutthroat industry.
Previous films set aside, how does MaXXXine hold up without its cinematic counterparts? In a nutshell, it seems West intended to utilise Maxine’s dreams of being on the big screen, leading her to star in an upcoming horror movie, The Puritan II, directed by in-movie filmmaker Brit Elizabeth Bender (Elizabeth Debicki). The result of this sees MaXXXine become a spiritual embodiment of a classic, ultra-nostalgic, kind of sleazy (but in a richly entertaining way) 1980s horror B-movie!
Keeping the spoilers at bay: essentially, the film is evocative of a distinctive hyper-stylised aesthetic, equipped with standard neon lighting, melodramatic acting, campy dialogue, and a sense of independent filmmaking. Top all this off with the brilliant settings featuring elaborate film sets, such as a loaded, cliched video store, then MaXXXine is worthy of its own bingo card to tick off all the retro facets that West crams into every crevice.
The evidential giallo-esque vibes make the film lush with an air of mystery, reminiscent of lusty noir thrillers that stormed 1970s horror. Alongside the glaringly sensual plot, MaXXXine features many glimpses of phallic, pointed knives and leather gloves, yet all of the flashiness does not completely hide MaXXXine’s fault. The mentionable downfall is the film’s lack of tension; the villain is predictable, the next victim is obvious, and any sense of exciting pacing is lost. It is as if the film is so caught up in its animated styling and almost intoxicatingly graphic, flamboyant ambience that the narrativisation takes the backseat. The major snag here is that all of these factors are forgivable in the grand scheme of what MaXXXine offers, yet, with West’s evidential eye for detail, it is more that the lack of attention is disappointing.
Despite the gripe over the ‘what ifs and buts’ of the plot, MaXXXine is still a rollicking time that manages to surge a pang of exciting boldness into every inch of the screen.
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Clever and socially provocative, Talk to Me is the horror breakout of not only the summer but the year. It centres around grief stricken teenager Mia (Sophie Wilde) who, along with a group of high school friends, experiments with an embalmed hand that possesses the special ability to connect with the dead and allows users to grant spirits permission to enter their bodies.
This innovative picture comes from the minds of Australian filmmakers Danny and Michael Philippou known primarily for their pioneering Youtube content on their channel RackaRacka. Talk to Me premiered at Sundance Film Festival and was rightfully an instant hit with audiences and film companies alike; the movie was picked up by infamous production and distribution company A24. Not only does Talk to Me provide a haunting yet beautiful viewing experience, it dives into the importance of identity and tackles the idea of how a horror movie would play out in the modern, digital age.
The film’s directors have spoken about how Talk to Me explores the theme of connection and how Mia, shrouded in grief from the recent loss of her mother, is yearning for a connection to anyone or anything that will make her feel something (Fandango, 2023). Though what stood out to me the most was Mia’s connection to herself; her sense of identity. As aforementioned, Mia is struggling to cope with the passing of her mother and the consequential grief that has begun to consume her. As a result we realise that a part of Mia has died along with her mother, leaving a gaping hole in her sense of self that she is desperate to fill. Enter the embalmed hand which allows one’s body and soul to be consumed by a relentless cycle of spirits.
This addictive activity works on two levels to fill the void left by Mia’s mother. Firstly, the euphoric feeling of being possessed functions like a drug, providing her with temporary relief from the hopelessness and loss that currently defines her. Secondly, the act of allowing a spirit to physically force itself inside her shows Mia’s desperation to find an identity again, even if it is not her own. Talk to Me follows Mia on her distorted and somewhat futile journey to find herself again and warns that altering your reality – using drugs or possession – cannot change the circumstances under which your identity was broken in the first place.
(ScreenRant, 2023)
Elaborating on the subject of reality, Talk to Me further examines a world in which we are perceived and scrutinised through a digital eye. We are introduced to the hand via a snapchat story in which a girl is clearly suffering at the hands of whichever spirit is coursing through her. When the camera draws back we see her distress illuminated by the light of several phone cameras, eager to document her torment. Furthermore at all the parties hosted by Joss (Chris Alosio) and Hayley (Zoe Terakes) – the current owners of the hand – every possession is filmed and made public.
This highlights the significance social media has on an individual’s reputation as, a humiliating experience with the hand would obviously bring with it an embarrassing reputation, later exhibited when Daniel (Otis Dhanji) has a turn with the hand. The film encourages viewers to realise the importance society places on a social media presence and a digital reputation; this generation is so immunised to the pain and suffering of others that they will happily record and publicise it if it promises a positive online reaction for themselves. It is only when Mia requests they use the hand outside the presence of phones and social media that the focus shifts from creating thrills and a viral video to Mia’s dependency on possession in order to feel whole again.
(BlackGirlNerds, 2023)
Talk to Me not only blurs the lines between the real world and the digital one but as the story develops we see Mia’s reality and the spirit world begin to intertwine. In between Mia’s innumerable possessions she begins to encounter spirits outside the use of the hand. Specifically she starts to see her mother who makes her question what is right and wrong and encourages her to inch further away from her own sanity.
Mia is presented with a morally impossible decision in order to save her friend with the manipulative spirit of her mother looming over her shoulder, trying to force her decision. The climax of Talk to Me is beautifully twisted as it portrays a loving mother-daughter relationship ripped apart by death and warped by grief. Here the Philippou brothers stunningly capture the fragility of the human mind and how the death of a loved one can cause our tether to reality to unravel.
Talk to Me exhibits all the shock and exhilaration ever present in Danny and Michael Philippou’s work and presents a unique ability to portray dark, mature and malevolent themes in a heartfelt and delicate way. The film emphasises a modern society’s dependence on a sense of identity established through our connections to one another and governed by how we present ourselves online.
Talk to Me sheds light on the fact that we are all one emotionally wrenching experience away from losing our grip on reality and severing all ties from our own sense of self.
In March of last year, Ti West returned triumphantly to the horror genre with X, a brutal tale of rural slasher madness combined with an eccentric dose of eroticism. X was quite the success story, with reviews falling in the film’s favour. Also stirring up the film’s limelight was Mia Goth’s dual performance as Maxine, an aspiring starlet, and Pearl, an elderly woman with a burgeoning lust for life. Both characters were hungry for fame and desire, but what left audiences baffled more than anything was the sheer enthusiasm in Pearl’s persona; she was a force, a powerhouse, and, most importantly, incredibly complex. It arose the question of what or who made Pearl a horrific but inspiringly passionate person.
With what many have described as an Oscar-worthy entry, and one of the best character studies in recent years is West’s latest feature, Pearl, the second in the soon-to-be ‘X’ trilogy. The film takes place in Texas circa 1918, where inside a strict rural farmhouse lives Pearl, a young woman desperate to live the life that glitters after falling in love with the hustle and bustle of Hollywood. With the constant knockbacks ruining her chance of fulfilling her dreams, she finally snaps, and all hell lets loose.
Pearl is truly an exercise in the importance of performance. Just as Jack Nicholson made The Shining (1980) and how Kathy Bates made Misery (1990) quintessential classics, Goth dominates the screen and commands your attention and forces the viewer to fall under her mesmerising spell. With every ounce of blood spilt is Goth’s ability to be quite the anti-hero whilst still being frightening enough to create that typical distance that makes you simultaneously fear and connect to her.
Further carrying Pearl’s impressive calibre is the copious layers of cinematic charm that West mediates throughout. The setting of the rural farmhouse is a boiling pot of sheer terror as the dusty fields turn from camouflaged greens to crimson as Pearl and her murderous antics escalate. The scoring is beyond performative as the orchestral, grandiose strings swell with each fleeting moment. The cinematography and editing is a fierce force that beautifully captures every visceral moment.
Even in the most chaotic of scenes are shown in such an impassioned and earnest way whilst still digging its claws deep into the gritty horrendous psyche of Pearl.
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The newly widowed Harper (Jessie Buckley) embarks on a solo trip to the countryside to escape from her worries. However, once she arrives a string of bizzare events unravel a world of horror…
Folk horror justifies the human body to be connected to an ethereal being that is one with nature, as if the soil beneath a character’s feet is a reasoning, an aid in their emotive flow. Men, Alex Garland’s latest feat, is an earthy experience that assaults the viewer’s senses through compartmentalising what they may or may not have believed about gender politics, and how the very source of a threat runs deeper than anyone may have previously understood.
Beware spoilers ahead…
Known for Ex-Machina (2014) and Annihilation (2018), Garland’s filmography thrives in the communication between humanity and otherness. That otherness in his previous work has been primarily communicated through science and creatures, and these sci-fi-like stories all have one thing in common- each piece resonates with something higher that can not always be understood in the everyday, where tales of grief, despair, sorrow, and self-condemnation thrives.
Men elicits its own message in a convoluted but mesmerising way. The impactful gut punch swung at the audience within the first scene acts as a warning shot to the entirety of Men’s harsh reflection about the cycles of abuse. With the rest of this narrative portion told in flashbacks, it is slowly revealed that Harper’s escape to the countryside was a means of therapy, a place of solitude to heal from the loss of her abusive husband. A tumultuous debate ensued when Harper informed her partner James (Paapa Essiedu) that she wanted a divorce, with the presumption being lumped on his controlling behaviour. James reacts in a callous manner that far too many people have experienced, touching on the deep wounds from the more ‘quieted abuse’.
He begins with carefully telling Harper that her absence will result in his suicide, coinciding her to being his emotive murderer. Their argument continues after he catches her texting a friend that she is scared of his behaviour, resulting in the discussion becoming heated when he knocks Harper straight across the face, blasting her into the kitchen cupboards and leaving her with a bloody nose. Rightfully so, Harper kicks James out of the marital home before he makes his way to the upstairs balcony and falls (or as it’s suggested) ‘lets himself go’ from the railings, plummeting to his death right in front of Harper.
The suffering experienced in a domestic situation is not always as obvious as soap operas make it out to be. Slowly persuading social exclusion, demanding to see someone’s phone, controlling what attire is and isn’t suitable, and hanging a warning of ominous events over an individual’s head is what can go on behind closed doors without anyone else ever knowing. Men implicates this subtlety that harm can harbour. Harper’s past with James is just the tip of the thunderous iceberg that Men touches upon.
As Harper enters the grounds of her idyllic home for the next two weeks, Geoffrey (Rory Kinnear), the keeper of the manor is introduced. His tweed layered outfit, buckled front yellowed teeth, and upper-class clipped tones all scream true to the country-gentlemen stereotype. Here, as it will become clearer later on, Garland has not fallen trap to easy labelling of a character out of sheer ignorance, Geoffrey’s precise aesthetic and tone is very much deliberate, lathering up the scene for the unbearably gruesome horror to ensue as the film progresses. At first Geoffrey seems harmless, almost awkward, and very eager to make Harper feel comfortable and safe all on her own. Whilst a woman shouldn’t have to wear a metaphorical coat of armour to feel safe when solo travelling, it seems that Geoffrey is concerned that Harper, or Mrs. Marlowe (emphasis on the Mrs.) as he calls her, has not brought ‘hubby’ along for the trip.
After Garland has denoted adequate time to develop the background of Harper’s disposition, the viewer is welcomed into Men’s true motives. Lush emerald fields and abundantly leafed trees frame Harper as she ventures out on a walk through the forest. The land swallows her stature and becomes all-encompassing to the frame, illustrating the sheer vastness of Harper’s seclusion and tethering her to nature, encasing her with the trees as if she is part of the shrubbery. It suggested that Harper has been disconnected from herself ever since her widowing, becoming stricken with the grief and guilt that was forced upon her.
As her journey into the forest deepens, her demeanour becomes lighter and more at ease, finding comfort in the breeze of the cool wind amidst the evergreen architecture. This happiness continues after she makes her way down a muddied trail to the abandoned railway track. The outside of the tunnel is bleak and dauntly lit, highly juxtapositioned against the previous scenes of open brightness. However, her boost of merriment from the walk encourages her to walk into the disused channel where she discovers the echo effect that the tunnel makes. Since she’s finally feeling spirited again, glee takes over and she creates a quaint melody, singing little calls down the tunnel. All is finally well. That is until her vocal sessions receive a reply…A loud screechy reply at that.
The cathartic bliss is interrupted within this one single moment. And from this point forward all hell is unleashed. As the film unravels it turns out that the reply Harper heard was from a naked, gaunt man who stalked her back to the cottage. However, as Garland slowly reveals, this stalking event does not take up the entire film, instead this horrific incident is barely a drop in the ocean compared to the following events. This brief climax in the first act opens the door for a string of chilling encounters to occur. The male police officers assisting Harper in dealing with the assailant are easy to shift the blame, the priest who she bumps into whilst exploring the village is quick to judge, a rude schoolboy who she unfortunately meets is rude and threatening, and the male townspeople she witness at the local pub are all majorly eerie, enacting a silent dread that has become increasingly familiar to many over the years.
Despite the rise in awareness and rights, there has been an insurgence of violence towards women, with the primary assailant being men. These antagonists are not always overt boogeymen lurking around corners. No…They could be (as Garland rather unabashedly exposes) a friendly neighbour, a religious vicar, it can be a young boy, a stranger who you may have simply crossed paths with, they could even be a respected police officer-a figure of the law.
Harper’s relationship and the reasons as to why she ends up in the countryside in the first place is just a means to an end, shielding the true meaning that Men possesses. Many have argued that Harper’s damsel-in-distress status is a receding factor in the cinematic representation of women. Her panicking, paranoia, and trepidation is largely seen as steps put in place to make her weak. And of course with Garland being a man himself, Men has become the target point for heavy scrutiny. Yet, one could argue that by constantly pushing on-screen women to be powerhouses, devoid of emotion (especially considering Harper’s circumstances), and completely fearless, then a similar pressure is once again placed upon the female viewer. Audiences want women to be absent of trauma, but at the same time, the true pathology of a person (female or male) depicts a variety of emotions all at one time. The comments degrading Garland’s work, and more importantly Buckley’s performance, as being ‘too-sentimental’ is in itself the sort of criticism that Men actively wants to disavow. Harper feels how she wants to feel, reacts as she sees fit, and is determined to do whatever she wants, no matter who it may displease. In the horror genre fear and anxiety are the driving forces behind the film, so why would Harper not be a bundle of nerves in this situation? I know I would!
Whilst Men can stir passionate debates about representation and the censorship of feelings (as seen above), what also needs thorough examination is the ‘why’s’ behind the film’s message. Rory Kinnear, known for his roles in Black Mirror (“The National Anthem”) and the Daniel Craig saga of James Bond films, plays the role of all the men in the village. Through all of these numerous character performances being synched together by Kinnear’s presence, it’s hinted that no matter the age, career, or appearance the danger is always there. Thus, inflicting an additional layer of context into Men. Its as if Garland is playing on the current social climate’s phrasing of the political standpoint- “Not All Men ”. Of course, these matters deserve more than a mere nod here, but to keep matters simple, in summary it can be argued that Garland decides to target the prolonged toxic masculinity trope.
Moving on, Kinnear is not the only shining star that graces the screen with the presence of pure talent. Jessie Buckley tears the barriers between screen and viewer, persuading us that this film is not a veil or a sheer piece of entertainment, but an important step in modern horror. Buckley willingly goes through such stern emotions of melancholia and utter desolation, and in doing so she drags the viewer directly into the horrid events, heightening the already nervous sense of fear and granting Men with an ubiquitous power.
Men builds a tower of fear through alerting us of the dangers out there, whether that be the everyday threat from the residential creeper, or the seedy underbelly that lurks within the least suspecting character. The entire pretext Men grounds itself within is both human nature and the outdoors itself, with the phallic tree stalks, the dominating masculine presence, and the constant symbolism of ‘father nature’ stalking Harper wherever she goes. In a bold, but refreshing sense these undeniable mankind-like features are purposefully juxtaposed with feminine touches from the rounded ripe fruit that falls from the trees, the red painted innards of the cottage, and the film’s unforgettable conclusion.
Arguably, the mixed reviews reading Garland’s stance towards misogyny as detrimental to any progress made can be sympathised with. However, I would argue that Garland did not set out to make a propaganda piece confirming his stance, instead Men screens a small portion of gender politics as a discussion piece, not a tale that aims to immigrate his own ethos into the mix. We are invited to sit back and witness, and make up our own minds about what we think is going on- making Men more of an experience as well as a film.
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James Wan has certainly built up a stellar reputation within genre cinema, with titles such as Saw (2004) and The Conjuring (2013) being created under his name. Wan’s latest venture is Malignant, which follows Madison, who is constantly terrorised by terrifying visions of ghastly murders, but when she unearths a sinister secret it is revealed that these dreams are in fact realities.
The trailer released just this week hints at a looming intense thrill focusing on developing a close character study whilst ensuring plenty of scares are had. Malignant has been described as a supernatural slasher, which is certainly a bold take. Audiences will be able to make up their own minds on this new exciting descent into madness when it hits cinemas in September 2021.
Ari Aster to direct new A24 horror
Ari Aster has been a hot topic within the last couple of years as both Hereditary (2018) and Midsommar (2019) exceeded expectations. Earlier this year it was revealed that Aster would be directing Disappointment Boulevard, a heavy drama following the story of an entrepreneur. There was definitely a mixed reception over his next voyage drifting away from horror, but now it has been revealed that he hasn’t abandoned the genre just yet as he joins forces with the aesthetically beloved A24 to direct another unsettling film. However, unlike his other films, he will not be penning the script, instead, Pulitzer Prize winner Michael R. Jackson will be writing this untitled project. Little detail has been released as the production is at the earliest stage possible, but be sure to check back here in the future for further information.
Julia Ducournau receives the Palme d’Or at Cannes Film Festival for new body horror ‘Titane’
Julia Ducournau is the first solo woman to win the most prestigious award at Cannes Film Festival. It’s not the first time the French director has turned heads as her 2016 film Raw received great acclaim. Winning her the award is Titane, a disturbing body horror that centers on Alexia (Agathe Rousselle), who has a metal plate installed in her head after a tragic car accident when she was younger, but her true story lies within her sexual desires for automotive vehicles. Titane is beyond transgressive as it has been likened to Cronenberg’s early filmography through its courageous and zealous exploration into the human psyche. The eccentrically driven film will be available theatrically and via VOD later this year.
The Final Girl Support Group TV series to be directed by Andy Muschietti
Grady Hendrix’s novel The Final Girl Support Group was only published this month, but already HBO has picked the novel up to be adapted into a TV series. The project already has It (2017) director Andy Muschietti tied to direct the pilot, with his production company ‘Double Dream’ also co-producing the show alongside Charlize Theron.
The Final Girl Support Group is sure to please horror audiences as it takes on one of the genres most quintessential topics, the final girl. The novel follows a group of women who meet up in their support group to discuss the horror movie-like events that they have miraculously survived through, but when one of them doesn’t show up they suspect that something sinister must be at play.
Waxwork records unveil exclusive Fear Street soundtrack vinyls
Waxwork Records are known for their specialisation of cult and genre cinema soundtrack releases. To add to their repertoire is the Fear Street trilogy soundtrack featuring the score composed for all three films. The vinyl’s embody the film’s neon-lit aesthetic, with bright pink, green, and blue covering the exterior.
Also included in the release are liner notes by Leigh Janiak, the writer and director of Fear Street, as well as new and exciting artwork by the very talented Sam Gilbey, who has clearly been inspired by the iconic 1990s covers of R.L. Stine’s original Fear Street novels in which the trilogy is based on. The vinyl package is available to pre-order right now at https://waxworkrecords.com/products/fear-street
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