Director:
Ti WestGuión:
Ti WestCámara:
Eliot RockettMúsica:
Tyler BatesReparto:
Mia Goth, Elizabeth Debicki, Lily Collins, Michelle Monaghan, Bobby Cannavale, Kevin Bacon, Giancarlo Esposito, Halsey, Moses Sumney, Uli Latukefu (más)Sinopsis(1)
In 1980s Hollywood, adult film star and aspiring actress Maxine Minx finally gets her big break. But as a mysterious killer stalks the starlets of Hollywood, a trail of blood threatens to reveal her sinister past. (A24)
Reseñas (7)
La prometedora conclusión de la trilogía X/Pearl/MaXXXine deleita con su tono insidiosamente siniestro, su maldad de terror, sus audiovisuales ochenteros y el ambiente de los estudios cinematográficos de Hollywood, pero la representación de un culto satánico y el mensaje del remate convierten a la película en un guión perezoso e indeseado, un delirio barato para los fans de la serie. Además, la presencia del conocido "Night Stalker" (ver el excelente documental de Netflix) no utiliza la película de ninguna manera y solo la menciona en las noticias. [KVIFF]
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Entonces West nos cerró su libre trilogía texana-hollywoodense y ahora se puede ver una parábola en ella. Con X West nos deslumbró con un estilo visual retro muy bien logrado, aunque el guion simple no era exactamente deslumbrante. Luego vino Pearl, un estudio de personajes de terror bastante admirable y destacado (o anomalía) de toda la trilogía, e incluso de todo el catálogo del director. Con MaXXXine West volvió más bien al principio, es decir, a la victoria de la forma sobre el contenido. Parece un poco sin terminar, poco pulido. Tal vez el director esté un poco cansado creativamente. Aún así, es muy divertido, tiene un gran aspecto visual y la ambientación a mediados de los 80 parece completamente creíble. Ti West nunca ha sido un fuerte guionista, pero le gusta el cine, le gusta hacer cine y también le gusta citar a clásicos del género. Después de la genial Pearl, una ligera decepción, pero aún así un buen entretenimiento sin pretensiones. [KVIFF 2024]
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De la trilogía de terror de West, la parte más débil, aunque como imitación de los sucios y sangrientos slashers clase B de los años 80, es realmente una delicia desde el punto de vista audiovisual. La película juega con habilidad con la estilización de la época (alquiler de VHS, efectos prácticos de gore), con el entorno de la fábrica de sueños y entretenimiento en declive (la trama ambientada en Hollywood y en los escenarios de rodaje del estudio Universal) y con numerosas referencias a otros horrores y citas de motivos y clichés del género correspondiente. Sin embargo, el guion carece de sofisticación y elaboración del episodio medio de la serie y más bien se acerca cualitativamente a aquellas viejas y tontas películas de terror, a las que rinde homenaje ostensiblemente.
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Ti West once again convincingly fetishizes the horror subgenre of yesteryear, unfortunately this time I have a bit of a problem with it, because this particular slice of horror (80s trash set in the streets of a big city) is not one of my favorites. I guess subjectively I would have much preferred if MaXXXine had a more prominent role for the giallo elements that it is partly based on. I can tolerate a sleazy thriller with a charmingly demented satanic panic twist, but it won't become my favourite. And even though it's pleasantly refreshing in specific moments, uncompromising and, for all its stupidity, nicely contrived, the various motifs fit together meaningfully.
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MaXXXine Minx is an adult film star, but she wants to take the next step in her career and is aiming for the lead role in an upcoming horror film. But succeeding in a Hollywood filled with madmen, serial killers and violence won't be easy. Especially when her past comes to mind. Ti West has conceived the final installment of his trilogy as a great homage to the 80s and the brainy thrillers and horror films of that era, and has uncompromisingly subordinated everything to it. Anyone expecting a traditional thriller with light genre games is in for a bummer. MaXXXine isn't afraid to be a wild, ridiculous and bizarre B-movie. And it certainly doesn't try to be cute. But it's undoubtedly interesting not just to fans of what West is paying homage to here.
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Ti West completed his trilogy of horror movies starring Mia Goth with a spectacular ultra-pastiche that in a certain respect not only tops off the series and the director’s filmography to date, but also the entire filmmaking tradition of decadent genres. Since time immemorial, all trash filmmakers have longed for acceptance and recognition, which means studio facilities and shooting in Hollywood. West’s trilogy about the alluring nature of filmmaking and promises of fame ends there. The director absolutely delights in the eclectic composition of allusions and references. His film radiates enthusiasm for the high and the low, thus setting side by side allusions ranging from porn to Chinatown, from American trash to giallo, and from Psycho to The Long Goodbye. Taking full advantage of the fulfilled dream of making his film under the wing of the celebrated Universal Studios, he stages a fannish tour of not only iconic locations in L.A., but mainly Universal’s outdoor sets. In so doing, he recalls the VHS era, highlights genre movies made by ambitious female directors and settles accounts with the religionists and moralists who protested against trash filmmakers and their works in the 1980s. However MaXXXine still primarily remains a hedonistic genre fantasy that doesn’t aim for historical accuracy (e.g. female directors were given room to work by Corman, not by the major studios). The main denominator here is the filmmaker’s own joy and, ideally, that of viewers having the same mindset. We could reach for the word Tarantino-esque, but that would be inadequate and limiting in any case. Because whereas Tarantino makes ultimate paraphrases of his favourite genres by ingeniously twisting iconic moments with his screenwriting, West outright composes an enthusiastic tribute that makes do with a fetishistic reconstruction that isn’t much more sophisticated than its inspirations in terms of screenwriting, but is joyfully informed by those films and enthusiastically revels in the possibilities that present themselves (which is perfectly confirmed by the closing vanity shot).
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"In this business, until you're known as a monster, you're not a star." From the very first scene, with the gate to the studio hell and the thrown cigarette butt on the star Theda Bara’s spot on the Walk of Fame, it’s clear what kind of cult Ti West worships here. I don’t begrudge him the trashiness of the content, but rather the deviation from his usual storytelling pace, which might have worked better with Mulholland Drive vibes in terms of atmosphere, and also the sloppy finale with the cultists, where the pastiche dangerously started to verge on parody. But it’s pointless to lament over it when we’ve ended up in Pleasuredome and she’s got Bette Davis eyes. Would you like a slice of bacon?
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