X (2022).

Review #2133: X.

Cast: 

Mia Goth (Maxine / Pearl), Jenna Ortega (Lorraine Day), Brittany Snow (Bobby-Lynne Parker), Scott Mescudi (Jackson Hole), Martin Henderson (Wayne Gilroy), Owen Campbell (RJ Nichols), Stephen Ure (Howard), Simon Prast (the televangelist), and James Gaylyn (Sheriff Dentler) Written and Directed by Ti West (#1893 - Pearl)

Review: 

It's the damndest thing. I found myself not having enough time to pick out this film when it came out in the month of March in 2022, but when it came to Pearl, billed as "An X-traordinary Origin Story" (as filmed on the same sets in New Zealand as this film) released in the latter days of September of that same year, I had all of the curiosity necessary to use it as a good way to start a month of horror. So, here I am basically trying to quantify my blunder in not just watching this film when it was new and wondering just how dumb I was in not picking it earlier. If you didn't already know, West had made a name for himself with a steady collection of horror features that started with The Roost (2005). This is his eighth feature film and just like the rest of them, he also wrote and edited the film himself. Sometime in the near future will be a sequel called MaXXXine, as already mentioned for those who were lucky enough to have seen Pearl, which will feature West and Goth again as one would hope makes a proper horror trilogy. 

Spoiler: well, I'm an idiot, I should've watched X back then. What better way to touch upon both a look into the world of X-ratedness that comes in porn and horror than a film like this? Sure, you might find something a bit familiar here with, say, The Texas Chain Saw Massacre (1974). Both were at a crossroads as the 1970s were about to end, and the advent of video (with stuff such as Debbie Does Dallas, released in 1978) was a big reason for that, because now one could find a market interest in something that wanted to see flesh in their own homes. In other words, one could get away with doing something for themselves for others without having to go with Hollywood or through those proper channels, which could be places such as say, a farm in Houston. It has an amusing pace to it beyond the grisly elements that come in both the bloodshed along with the cries for being past one's youth that make for a really enjoyable time. It is craftsmanship of the best kind when it comes to the fear that comes in both delusional visitors and in becoming old, complete with prosthetics used to make a film that isn't just riding on CG-mush. When it comes to showcase, it goes doubly for Goth, who plays two roles that work in the view of people who desire a life for themselves filled with what they look like on the inside and out (whether that is a cocaine-sniffing actress or someone who obviously saw plenty in the 1920s when it comes to youth). This desperation makes for some curious scenes, such as their first scene together (after one is seen watching the other skinny-dipping in a pool that narrowly misses an alligator, anyway) that is uncomfortable in dreary enjoyment for one looking upon a younger one. The filming of the nudie scenes is particularly interesting when it comes to trying to construct something both pleasing and fitting to what looks and sounds right for both cameraman and cast undergoing it all that works for Parker and Mescudi (best known as Kid Cudi) for timing in performances. Henderson makes a worthy minor note in would-be film huckster, which compares pretty well when you think about Campbell and Ortega reacting to the idea of being involved more than just behind the camera (consider that reaction from the former in the aftermath carefully). It is the dynamic of Ure and Goth, however, that drives the film to where it must go, because even love must go hand in hand with sadism when it comes to helping others realize their desires, which is probably more unsettling than anything, at least when compared to the blood and gore (or the televangelist that occasionally appears on television, for those who don't care to hear of hucksters of the religious kind). One could actually feel bad for this character in the basic sense of aging, because, well, no one can be as young and free as they want to be forever, no matter what they may pretend to think (whether with others or by themselves, although the lonely usually die faster anyway). I especially like the ending for the subversion of the usual final person tropes when it comes to just wanting what they want, an ideal representation of "F you, got mine" if there ever was one. As a ballad of sex and violence with lingering degrees of uncomfortable styling, it makes for a highly interesting start to a horror series I really did not see coming (X and Pearl may actually be neck-and-neck with each other when it comes to how each do their own pastiche of a certain genre). Far from just a tribute or just an excuse to show skin and gore, this is the kind of film fit for its era when it comes to delivering unsettling entertainment with little to no false notes detected in the best of ways possible.

Overall, I give it 9 out of 10 stars.

I hope you folks have enjoyed this procession of October in Horror films (with one exception) in this historic month. I wanted to do a month packed with a handful of the usual names you might expect from horror, whether that meant a Vincent Price film or a John Carpenter effort and put them all together. There were plenty of films considered that didn't make the cut that I'm sure could be covered next October...or with Halloween The Week After, Year Five.