Ti West’s gory glam fest conclusion to his X trilogy has finally been released. ‘MaXXXine’ is the third instalment in the X trilogy, following ‘X’ and ‘Pearl.’ Mia Goth reprises her role as the titular Maxine Minx, an adult film star aspiring to become a Hollywood movie star, who is running from her dark past.

We reunite with Maxine on the grimy streets of 1980s Hollywood, full of neon lights, grit, and sleaze. At first glance she is briming with confidence, showing off her blonde new hairstyle and bombastically bragging about her auditions in these B list horror films. But we soon see the façade shift as she puts on her makeup for her stripping gig and has flashbacks from the events in X. Wizened old lady hands wrapping themselves around her neck, reminding us of the traumatic events that still haunt her.

Throughout the film the looming threat of ‘The Night Stalker’ haunts Maxine. All the victims being friends of hers. The Night Stalker is based on the real life serial killer Richard Ramirez who was rampantly stalking the LA streets in 1985. He was caught and convicted in 1989 for the murder and assault of 13 women. He would leave his victims with Satanic symbols branded into their skin, something we see in gruesome detail in ‘Maxxine.’ The question throughout the film is: Who exactly is The Night Stalker? And how do they know about Maxine’s past? This becomes clear in the climactic third act, involving cult rituals and televangelists.

The film is also rampant with welcome cameos from other celebrities such as the acclaimed Giancarlo Esposito, Kevin Bacon, Halsey, and Lily Collins. Many of these side characters giving notable performances before being gorily slaughtered on screen. You can see the actors having fun embodying these roles and showcasing these gruesome deaths.

The film captures the essence of the 1980s with its vibrant soundtrack, featuring tracks from iconic artists like ZZ Top and New Order. The film's aesthetic and production design vividly evoke the era, contributing to the film's overall atmosphere.

A lot of the film is a love letter to 80s Hollywood cult class horror films. Cinematographer Eliot Rockett uses a mix of sun soaked and neon lit visuals to capture the look of mid 80’s films. By using 35mm film he was able to create a rich cinematic texture. The visual style also complements the film's thematic focus on the glitz and grime of Hollywood. It highlights the contrast between the glamorous aspirations of the characters and the dark realities that they face. This delves into the film's exploration of themes such as fame, exploitation, and the darker side of the entertainment industry​.

As Maxine’s history threatens to resurface, she faces an intense internal struggle to prevent her past from derailing her dreams. She is determined to reclaim her agency, thus ignoring the police’s pleas for help in order to preserve her own dream. She shamelessly tells the cop maybe the next victim, “should save herself,” rather than expecting someone to help her. Maxine has saved herself and refuses to fall into the pit of victimhood.

Ultimately, Maxine’s journey culminates in an act of self-redemption. She uses her own network to confront her demons. She does it on her own terms, thus reclaiming her agency. In the final scenes, Maxine’s rebirth is immortalized on the silver screen, as she emerges as a scintillating star from the dark shadows of Hollywood—triumphant and finally claiming her rightful place in the limelight.

Although an aesthetically pleasing film, it is a lot more camp than its predecessors. Gory with goopy practical effects and not taking itself too seriously, the film is an homage to 80’s cult classic horror. Although with an attempt at social commentary that seems a bit lost in translation. Some may have found the conclusion a bit anti-climactic, after a build up from a trilogy that seemed so promising. Although, in the end Maxine got exactly what she wanted; to be a star.