MaXXXine (2024)

The critic praises Mia Goth's standout performance as Maxine Minx in this entertaining conclusion to Ti West's trilogy. The film is celebrated for its gleeful gore, memorable cinematic flourishes, and rampantly entertaining schlocky noir style.

The critic views MaXXXine as a strong, intense woman-fights-back thriller that caps the trilogy with plenty of eye-popping twists and surprises. It singles out the vivid recreation of 1980s Hollywood atmosphere, needle drops, and Easter eggs as particularly effective.

The review concludes that MaXXXine delivers satisfying carnage and bloodlust for fans of the slasher genre. It highlights the strong mid-80s atmosphere, soundtrack, and Mia Goth's fun, roaring performance as the title character who gives as good as she gets.

The critic finds it diverting and fun at times as a retro 1980s sex-and-horror schlock pastiche with a compelling Mia Goth performance, but it is less ambitious and more conventional than 'Pearl'.

Notes that Mia Goth's performance is more coherent and triumphant than the film overall, which demonstrates the trilogy never had much depth and feels more like a genre conversation than a story for the audience. Singles out Goth's feral ravenousness for the limelight.

The critic argues that MaXXXine undermines the strengths of X and Pearl by shifting focus away from Mia Goth's lead character toward the director's own industry ascent and flashy resources. It offers rich 1980s LA sleaze but feels thematically thin and less invested in its protagonist.

The critic calls it a flimsy thriller that does not deserve Mia Goth; it offers stylish 1980s references and a strong lead performance but lacks eroticism, thrills, tension, or meaningful substance.

The critic finds it a crushing disappointment despite the stylish recreation of 1980s Los Angeles, as the film lacks substance or depth beneath the lurid style and turns the protagonist into a passive figure.

The review finds MaXXXine the weakest entry in the trilogy, criticizing its self-congratulatory cleverness, flimsy plot, and lack of new insights on fame or violence. It singles out Mia Goth's vicious, dynamo performance and the copious gore as highlights amid the disappointment.

The film is a glossy, gore-splattered entertainment that completes the trilogy ambitiously but falls short of Pearl's boldness. Goth is brazenly likeable as the lead pursuing stardom in a deranged 1980s Hollywood.

Praises the dazzling and disgusting final chapter as the defining film of Brat Girl Summer where Ti West and Mia Goth crush it. Highlights Goth as A24’s favorite scream queen out for blood in 1985 Hollywood.

The third chapter in Ti West’s X trilogy bleeds the franchise dry with a cynical giallo-esque 1980s-styled thriller. It is a witty, gory, coke-fuelled exposé of the Hollywood machine at its most cynically exploitative, where implicit in the rise of every star is an eventual fall.

Calls it a well-made but forgettable ’80s pastiche that improves on the prior films tonally but fades into the wallpaper compared to horror history or West and Goth’s best work. Singles out Goth emerging unscathed with her best performance since High Life.

The critic finds the film an outrageously watchable episode in Ti West's franchise, praising its pulp, gore and self-aware set pieces along with strong supporting performances. Mia Goth returns triumphantly as the ambitious lead.

The critic calls it a glorious paean to 1980s sexploitation and horror that completes the trilogy on a delectable note with vivid period evocation and a deluxe cast. Singles out Mia Goth's magnetic presence as a new breed of scream queen and the loving homage to filmmaking aesthetics.

The film is the flabbiest instalment in the franchise, with too many elements thrown together that fail to cohere. West over-relies on the 1980s Hollywood setting without sufficient payoff.

Writer-director Ti West concludes his Mia Goth horror trilogy with a thrilling slasher that’s both fond neon tribute to the genre’s ’80s gory heyday and a brisk, smart look at the role of women and power in Hollywood. Goth again steals the show as the eponymous wannabe on the rise.

The critic hails it as a transformative feast with an erotic cataclysm of gnarly kills and a powerhouse performance from Mia Goth, praising the authentic 1980s sleaze, strong supporting cast, and Goth's control of the screen.

The review praises it as a loud, bombastic, sexy, bloody farewell to the trilogy, highlighting Mia Goth's star turn and visual flair, though noting the script is straightforward.

The review calls MaXXXine the frothiest and most breezily entertaining entry, a decadent love letter to 1980s Hollywood sleaze and genre excess that revels in its indulgences. Mia Goth delivers a steely, ruthless performance that anchors the film as its not-so-secret weapon.

The review praises MaXXXine as gloriously frenetic, with West embracing silly, over-the-top 1980s sexploitation vibes and gore while dissecting film, filth, and feminism. Mia Goth gives one of horror's greatest performances as a ball-stomping survivor.

The critic finds MaXXXine a bloody and messy Hollywood satire blending elements of the prior films with 1970s/80s references, delivering glorious moments alongside chaotic energy and more vibes than substance. Mia Goth remains a consistent force of nature with an astounding performance.

The critic finds MaXXXine a clumsy and limp close to the trilogy, struggling to cohesively blend its many 80s pastiche elements despite some fun moments.

The critic argues the film is overly reliant on pastiche, making it not scary or impactful, with set pieces that hit marks but don't transcend, though Goth holds the screen.

The film serves as a satisfyingly bloody conclusion to the trilogy and functions as an abstract think-piece about women in cinema. It singles out Mia Goth's creepily compelling audition performance for praise.

The critic finds the film an uneven but stylish close to the trilogy, praising Goth's magnetic performance and the authentic 80s recreation while complaining about uneven dramatic tension and lack of commitment to horror elements.

The review sees it as a love letter to 80s Hollywood that's fun but emptier than predecessors, praising the meticulous recreation of the era and authentic costumes while noting it's not scary and Goth's role lacks depth compared to Pearl.

The stylish throwback is a violent but affectionate ode to 1980s sleaze with an impeccable style and impressive cast, but it is only mildly interesting overall. It singles out Mia Goth's ferocious, star-making performance for praise while noting the lack of depth compared to prior entries.