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Post by moviemanjackson on Jul 9, 2024 1:41:51 GMT
Not as good as Pearl but better than X. Trends more style vs substance but a good capper to the trilogy in my opinion, and I did have the most pure fun with this movie over the other two.
I'd rank as Pearl>MaXXXine>X.
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Post by Nora on Jul 18, 2024 0:49:09 GMT
Not as good as Pearl but better than X. Trends more style vs substance but a good capper to the trilogy in my opinion, and I did have the most pure fun with this movie over the other two. I'd rank as Pearl>MaXXXine>X. Agreed. Pearl is the absolute top of the trilogy. While Mia is still good Maxxxine bored me.
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Post by CrepedCrusader on Jul 18, 2024 5:28:51 GMT
The weakest of the three for me. From the point where the villain was revealed, the movie took a nosedive. The actors all did great, though, especially Mia Goth and Kevin Bacon.
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Post by joekiddlouischama on Jul 27, 2024 9:09:43 GMT
I found MaXXXine "decent": intriguing yet ultimately lukewarm. The introductory sequence, in which the eponymous protagonist (a porn star seeking, at the age of thirty-three, in 1985, to transition to feature films and win the starring role in an upcoming thriller directed by a prominent female filmmaker), is excellent, and so is actress Mia Goth as Maxine. And that sequence, like the overall film that follows, is shot and edited in a crisp, brisk, dynamic manner that maintains visual momentum and excitement. The movie offers some social intelligence and irony, too. There is a definite element of life-imitating-art and art-imitating-life and a sense of feminist sexual comeuppance at times (made all the more ironic by Maxine being a longtime porn star). Indeed, as the director (played by Elizabeth Debicki) tells Maxine at one point, she wants this character (in the movie-within-the-movie) to constitute a female version of Clint Eastwood or Charles Bronson.
There is further irony—suggested just obliquely—in how despite the decade's Reagan-oriented politics, Hollywood in the 1980s proved raunchier and trashier than ever. Similarly, in the movie's backstory and its father-daughter relationship, MaXXXine suggests that for all the straightlaced mores and manners of the fifties and early sixties, that era proved full of darkness and sexual angst, only it was (unhealthily) repressed, helping lead to Maxine's eventual move to Hollywood and career as a porn star. The film's climax, occurring in part underneath the famous "Hollywood" sign in the hills above Los Angeles, is shot in a vivid way, full of ironic impact.
Overall, MaXXXine is a black comedy and parody that also strives to be a dark, edgy thriller. If these motivations are mixed, the movie's tone is nonetheless consistent—there is nothing jarring or jangling about it. But one also wonders if writer-director Ti West should have just focused on one primary ambition here. For while the movie sometimes proves gruesome (almost bordering on horror here and there), it ultimately is not as dark or edgy as its milieu might suggest. As a sex-and-violence stalker thriller, it proves tepid at best. Nothing of note is at stake, and none of the characters—even Maxine—elicit much sympathy or cause the audience to really care about their fate. MaXXXine thus amounts to a moody muddle.
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Post by joekiddlouischama on Jul 27, 2024 9:15:14 GMT
Trends more style vs substance True.
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Post by moviebuffbrad on Jul 31, 2024 1:24:27 GMT
Trends more style vs substance Ti West's life story.
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Post by darkpast on Aug 31, 2024 6:36:59 GMT
uh 5/10 , disappointing
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