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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Coming from the strange and dark mind of Brandon Cronenberg is what is most likely to be 2023’s most lavishly viscous film, Infinity Pool. With its salacious themes and even more explicit visuals, Cronenberg’s latest adventure into the darkest depth of the human psyche has racked up quite a reputation. Countless connections have been made surrounding the film’s similarity to Parasite (2019), The Menu (2022), and even the smash hit TV series The White Lotus (2021-). However, whilst Ininfity Pool takes the satirised elite elements in its stride, the film is so incredibly bleak and crushing that any straight ties to other works are fruitless in describing just how effective Infinity Pool really is.
The film follows Em (Cleopatra Coleman) and James (Alexander Skarsgård), a young couple desperately needing a getaway as they retreat to La Tolqa, a private beach resort. However, instead of the expected rest and relaxation, the trip soon takes a turn for the worse as they come across the mysterious Gabi (Mia Goth).
Cronenberg has that unique talent of creating such a sensual yet complicated atmosphere, bursting at the seams with many metaphors and fleshy symbolism. Infinity Pool transfuses every frame with foreboding dread, making the viewer crave the unfolding terror. The audience dives straight into pure scopophilic terrains by the film’s climax. Further espousing Infinity Pool’s measures of stunning extremity is the film’s somewhat unhinged plot that remains shocking even after a second watch.
As Em and James retreat deeper into the chaotic narrative, the film becomes a tightly wound bundle of absurdity where gut-wrenchingly raw and harsh truths thrive. Infinity Pool is best described as a cinematic enigma that has to be experienced.
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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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Wayne (Martin Henderson) is a hopeful producer who casts his younger girlfriend Maxine (Mia Goth), and fellow actress Bobby-Lynne (Brittany Snow) to star alongside former marine Jackson (Scott Mescudi) in Wayne’s upcoming “dirty movie”, The Farmer’s Daughter. Joining them is director RJ (Owen Campbell) and his girlfriend Lorraine (Jenna Ortega). The group head to a rural farm in Texas owned by the elderly couple Howard (Stephen Ure) and Pearl (Mia Goth), who are kept in the dark about what the crew is shooting. Although Howard and Pearl’s unwelcoming reception proves to be tense, events soon turn much more sinister…
Ti West’s long awaited return to the genre is a stinging melody of psychosexual dread, fleshy fearfulness and enough tension to make those with nerves of steel clench their jaws. The A24 produced film fuses together multi-dimensional acting and a flawless sound arrangement to harness a bold take on modern-retro cinema and the intertwined wiring between horror and venereal subtexts.
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X thrives on a meta-commentative spectrum where West clearly pours out his devotion to the art of filmmaking itself. There’s the external level of self-referentiality via the characters being part of a production crew, going out to make a film in hopes of taking advantage of the upcoming home video market. Accompanying the obvious and very direct nods to the audience is the group’s discussion of elevating a niche genre movie to be a product of quality and the potential that independent cinema holds. Rather than just rely on overt dialogue to marry the borders between screen and reality and how the 1970s setting advanced a creative surge for exploitation across all media is the reintroduction of split screen, wide zooms, and swiping transitional cuts. These factors are reminiscent of seventies classics such as Black Christmas (1974) and The Texas Chainsaw Massacre (1994) and still maintain a level of rarity amongst modern cinema, making these small touches noticeable, yet vital in bringing the viewer back in time.
The pastiche ode to a bygone culture makes the film the love letter to cinema that it is. West has long infused a certain level of passion into his films, with The House of the Devil (2009) and The Innkeepers (2011) lingering success being down to their unique portrayal of the nefarious horror that lurks amongst isolating souls and settings. Whilst the crystal clear loyalty to filmmaking is a crucial plot device, one of the more direct double-entendre strands is birthed from the film’s most ferocious element.
Hardcore porn is treated with an air of respect in X. West adds in the quintessential argument of morals thanks to a tense conversation between the holier-than-thou Lorraine and the rest of the crew, but overall the art of erotica serves as more than a cheap trick to lure in movie-goers and appease to the cliche that horror is just gory smut. It’s not a secret that horror has a long history of being taboo. Whilst heavy genre cinema still gets its premieres and mainstream releases, expressing a passion for horror still raises a few eyebrows to this day. X amalgamates the stereotypical lowbrow elements of horror and sex to conjure an artful expression of lust for life, bloodshed, and downright grizzly violence.
The weighty symbolism is both subliminal and full throttle mainly down to the absolutely riveting performances from every single cast member. Brittany Snow rips off that Pitch Perfect (2012) reputation to deliver a totally surprising parade, Scott Mescudi unveils his best performance yet, Jenna Ortega cemented her role as a future scream queen, Martin Henderson excels at the whole ‘everything is bigger in Texas’ vibe, Owen Campbell perfects the ‘awkward’ fish out of water role, and last but not least is Mia Goth in this career defining performance. X provides a stage to exhibit Goth’s immense talent and versatility as an actor. The entire aesthetic of Maxine is reminiscent of Linda Lovelace, another sex symbol from the decade. More significantly Maxine possesses this usually unattainable confidence that spares no prisoners and dares to be tested, fashioning a level of allure that makes the viewer both unsure and undoubtedly mesmerized by her assertiveness.
Whilst mimicking sleazy skin flicks holds a majority share in X’s growth, the cinematography is far from amateur. The brooding shots sweeping over the rural setting, as well as the slow motion scenes flourish stunningly within the slowburn narrative that allocates time specifically for director of photography, Eliot Rockett, to flesh out an eerie atmosphere that purposefully subverts our gaze and amplifies our curiosity. One particular scene masterfully raises the tension level through a bold overhead shot of Maxine taking a dip into a seemingly vacant lake. However, amongst the stillness in the swampy frame is a scaly alligator lurking right next to the unknowing Maxine. Whilst this reveal isn’t a spoiler, it does shed light on how West continuously diverts our attention and misdirects where the presumed violence is going to come from. The segment is a straight cut lesson on how to build a potent scare with no dialogue and soap opera dramatics.
Indeed, X has ample amounts of foreboding cinematography, bountiful performances, and unmissable set design, but one area that really rips into the visceral nature of the story is the hard hitting soundtrack. Audiences will definitely find themselves bopping along to well known tunes and the not so subtle “bow chicka wow wow” music that accompanies TheFarmer’s Daughter scenes. Welding the score to the more grounded texture of X is the cover of ‘Oui Oui Marie’ by Chelsea Wolfe, whose rendition of the dainty cabaret-esque 1918 song saturates the film with a gritty, dusty tonal expression. It’s just another one of the countless ways West dovetails the film’s neo-grindhouse influences throughout every single vessel.
X has already achieved a warm welcome from frequent horror watchers and hard to please critics. And it seems that the film’s legacy has only just reached the surface as West is already in the editing phases of ‘Pearl’, X’s prequel, which will follow Howard’s disheveled wife and how the cabin was occupied as a boarding house during the first war. As if this wasn’t already a surprise to fans, West has also revealed that he has begun writing the third film which will chronologically follow the events unfolding after X’s ending. Whilst this is pretty big news considering X was released less than weeks ago, the slasher sub-genre does adore adding a string of sequels.
X truly is the full package! Whether it’s the narrative arcs descending into touchy allegories surrounding death, or if it’s the sheer gory pandemonium X has it all, making it not only one of West’s most impressive films to date but also an unmissable soon to be classic.
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