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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)

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inglês 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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português A promissora conclusão da trilogia X/Pearl/MaXXXine encanta com o seu tom insidiosamente sinistro, obscenidade de terror, audiovisuais dos anos 80 e cenário de estúdios de cinema de Hollywood, mas a representação de um culto satânico e o efeito final do ponto de partida lançam o filme numa ilusão barata, de argumento preguiçoso, indesejada pelos fãs do franchise. Além disso, nem mesmo a presença do famoso "Night Stalker" (ver o excelente documentário da Netflix) não é explorada pelo filme, que só o menciona em reportagens. [KVIFF] ()


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português O filme mais fraco da trilogia de terror de West, embora seja uma referência aos filmes B de terror sujos e sangrentos dos anos 80, é um verdadeiro prazer do ponto de vista audiovisual. O filme joga de forma exemplar com a estilização de época (aluguer de VHS, efeitos práticos de gore), o cenário de fábrica de sonhos e de divertimento barato do filme (passado em Hollywood e nos cenários de cinema da Universal), e numerosas referências a outros filmes de terror e citações de motivos e clichés apropriados ao género. No entanto, o argumento não tem o refinamento e a sofisticação do filme do meio da série, sendo mais parecido, em qualidade, com os velhos filmes de terror tolos aos quais presta uma homenagem ostensiva. ()


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inglês 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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inglês 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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inglês Ti West has concluded his loose Texas-Hollywood trilogy for us, and there's a bit of a pattern to it now. With X, West dazzled us with a very accomplished retro visual style, although the simple script wasn't exactly anything to write home about. Then came Pearl, a rather admirable horror character study and the highlight (or anomaly) of the entire trilogy, and by extension the director's entire catalogue. With MaXXXine, West has rather returned to the beginning again, that is, to the triumph of form over content. On paper, it feels a little unfinished, unpolished, perhaps the director has become a bit tired as an auteur. It's still great fun, has great visuals, and the setting in the mid-80s looks totally believable. Ti West has never been a strong screenwriter, but he likes film, he likes filmmaking, and he also likes to quote from genre classics. A slight disappointment after the great Pearl, but a fine unpretentious movie nonetheless. [KVIFF 2024] ()