Maxxxine Needed the Farmhouse
Mia Goth as Maxine Minx in Ti West’s Maxxxine.
Ti West's X is a terrific horror film, and I adored his immediate prequel, Pearl. Something was nagging me about Maxxxine, his trilogy's third and final film.
Maxxxine suffers from one glaring issue: it doesn't feature Mia Goth in the lead role the way it should. This is weird, given that Goth was absolutely magnificent in Pearl—so much so that I believe she deserved an Oscar nomination. Yet, in Maxxxine, West quieted her character (the balls-stomping scene notwithstanding) and, in doing so, muted the film's central force. The Maxine Minx we knew from X seemed destined for a finale that would showcase Goth's full range and screen presence, but instead, she was overshadowed.
My theory? West, perhaps seduced by the success and prestige of the first two films, leaned into casting high-profile names rather than fully capitalizing on Goth's rising star. The narrative weight became more evenly distributed, with actors like Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito, and Bobby Cannavale in the mix. The new characters diluted the film's core. Bacon, in particular, was given a flashy role. While he delivered a strong performance, his screen time—along with that of the other stars—came at the expense of Goth's. Given how electric she was in X and Pearl, seeing her impact lessened here was baffling.
Another missed opportunity was the film's conclusion. To my taste, the final act of Maxxxine should have led back to the farmhouse from X. Maybe I have a weakness for cinematic symmetry. Still, Maxine's story was crying out for a full-circle moment. A climactic return to that isolated, eerie setting—perhaps with an unexpected revelation—would have been immensely satisfying. Instead, the film's finale left me feeling like something was missing, as if an essential piece of the trilogy's puzzle had been ignored.
West's depiction of 1985 didn't quite capture the era's atmosphere with the same authenticity that X did with 1979 or Pearl with 1918. The immersive period details in those earlier films helped elevate them beyond standard horror fare, making their settings feel integral to the storytelling. Maxxxine's vision of 1980s Hollywood felt more generic, lacking the rich, lived-in quality of its predecessors.
Maxxxine's most significant flaw is that it doesn't use Mia Goth to her full potential. Pearl showcased just how extraordinary she can be. Yet, West seemed to write a script that catered more to the presence of his new, more famous cast members rather than fully capitalizing on Goth's talents. Seeing such a dynamic performer take a backseat in what should have been her triumphant showcase was frustrating.
The film does have standout moments. The opening scene with Maxine's audition is fantastic, and the sequence in which she panics while having a cast made of her head is another highlight. These moments remind you why Goth is such a compelling presence. If only the rest of the film had given her more room to shine.
