| A24 | Release Date: July 5, 2024 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
31
Mixed:
17
Negative:
2
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Critic Reviews
IndieWireJun 26, 2024
If nothing else, the dazzling finale feels like a hyperviolent ‘80s period piece tailor-made For the Girls. It delivers some of the series’ most extreme kills as well as its best uses of glittery costumes, bloody testicles, and feminist subversion for a whirlwind joy ride that doubles as a societal lambasting.
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So yes, “MaXXXine” is sometimes more style than substance. Still, amid all the clever inside jokes and Easter eggs, writer-director-producer-editor West delivers a masterfully paced horror film set against the dichotomy between actor-turned-politician Ronald Reagan’s “Morning in America” and the reality of 1985 Hollywood and its grimy, exploitative, misogynist underbelly.
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Screen RantJun 26, 2024
MaXXXine may have taken a little longer to hit theaters, but fans of horror can be assured that it is well worth the wait. The best part is that newcomers can enjoy it as a standalone, but watching X and Pearl beforehand exponentially enhances the experience, creating a nearly perfect sequel.
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West mixes some wit in with the gore here, even if the payoff, alas, doesn’t rise to the level of the buildup. By then, though, “MaXXXine” has delivered enough nostalgia regarding its genre to merit a walk down its alleys, and not incidentally, the showcase and sendoff that Goth’s character deserves.
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As the crowning touch on West’s horror-movie mille-feuille, MaXXXine demonstrates that the trilogy never really had all that much going on, depth-wise, despite its sprawl. But Goth does her own synthesis of the characters she’s played across the titles, and the result is alternately disturbing, touching, and downright triumphant.
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West does so much winking at the audience that he doesn’t leave much time to gaze into the darkness the way a truly scary horror movie does; MaXXXine’s moments of shock are surprisingly few and far between. As a result MaXXXine is rarely as disturbing or as effective as the earlier films in this series.
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MaXXXine gestures toward themes that have been explored throughout the trilogy—namely the lengths one will go to for fame, as well as religious hysteria—but without much conviction. Take away the endless Hollywood references and 1980s signposts (yes, there’s a New Coke gag) and there’s not much else going on here.
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