By Lynn Venhaus

Slashy and trashy, “MaXXXine” falls short of the thrills that made Ti West’s “X” and “Pearl” superior horror films in 2022.

The time is 1985 and the place is TinselTown. Adult film star Maxine Minx (Mia Goth), flush with success from the porn video biz, finally gets her big break in a horror movie. But the fame she craves can be snuffed out quickly because a mysterious killer stalks Hollywood starlets, and she wants to find out who is trying to thwart her crossover career by revealing her sinister past.

Despite West’s flair for retro genre pieces, this third installment starring Mia Goth lacks a compelling and cohesive story. For someone who pushes horror movies forward with an unmistakable style, this doesn’t offer anything fresh and feels forced.

Sure, there’s more money, more star power, excessive blood and gore, and heaps of chutzpah – but homages to schlocky 1980s horror movies can only sustain West’s sprawling plot so far.

It’s too large of a canvas to get invested in any of the ‘decent’ characters, although the elegant and statuesque Elizabeth Debicki adds class as a ruthless female director trying to make her mark in a misogynous industry.

Not only is it the weakest in the trilogy, but do we want to continue beyond the final frame? As it turns out, the big reveal is lame, and its sanctimonious angle took a long time limping to its ridiculous conclusion even for an hour and 44-minute runtime.

Of course, with horror movies, logic goes out the window. Oh sure, purposely strut down a creepy pitch-black alley and walk into a dark mansion for the first time where you know nobody, and it sure doesn’t sound like a party is going on!

We experience the all-too-familiar tropes, but we have plot threads that leave us hanging, and there should have been a more satisfying turn, especially with all of West’s bag of tricks.

The self-righteous morality police have always been squeaky wheels, and seem like an easy, predictable target. Oh, religious zealots are offended by Hollywood smut?

The buddy cop dynamic of Bobby Cannavale and Michelle Monaghan was sadly under-used, the very real Night Stalker serial killer slayings wound up to be a red herring, and Maxine’s friends and colleagues were picked off in alarming fashion without much reason to care.

With Goth, you have a fascinating leading lady – a cold-blooded narcissistic sociopath that is so focused on fame that her moves are jaw-dropping (and ultimately made me too queasy to root for her success or redemption or comeuppance). Yay to cruelly chopping off man parts and crushing skulls?

The violence is gruesome – and to be fair, there were ‘eyes-closed’ moments in the first two, too, but it was horrifyingly presented. (I know it’s a horror movie, duh, but sometimes restraint is more effective.)

To see such deviant behavior from a young girl so sick and twisted in “X” and “Pearl,” you wanted to know how she got that way. Here it seems like a contest – how sleazy and disgusting can we get? And did anyone else get a “Scream 3” vibe as well as throwbacks to Brian DePalma’s “Dressed to Kill” and “Body Double”?

In this installment, preacher’s daughter Maxine is just as self-absorbed and demented as she was before, a continuation of her character’s evil nature, a la “The Bad Seed” and Damian in “The Omen.” There is nothing new to add. If you’re making her into a Scream Queen, then shouldn’t it be scarier?

Nevertheless, West has surrounded his muse with a fine cast of characters. Kevin Bacon chews the scenery as a scummy private detective from Louisiana that underestimates what a disturbing lethal weapon she is. Giancarlo Esposito, in a goofy toupee, is hilariously over-the-top as her bulldog agent-lawyer.

The use of cocaine, such a part of hedonistic Hollywood, is omnipresent, but there are no consequences? Everyone who succumbed back then finally had to pay the piper, but we don’t get anywhere near that cause-and-effect.

While being very entrenched into that ‘80s mindset, the film’s intention does resemble the current ‘I wanna be a star’ social media influencer and celebrity culture obsessions.

In the West universe, there is no such thing as “be careful what you wish for,” only rewards, which makes Maxine even more terrifying. In “X,” she survived a Texas-chainsaw type massacre in the ‘70s, and “Pearl” was a grotesque backstory of a hyper-sexed homicidal maniac.

However, West being a master at atmosphere, his setting much of the action on a Hollywood backlot, specifically the Universal Studios tour – that ‘Psycho’ house! – is fabulous eye candy, thanks to production designer Jason Kisvarday (“Everything Everywhere All At Once”).

And the seedy Hollywood Boulevard scenario from that period is realistic, especially embodied by Moses Sumney’s Leon, who works at a video store.

Perhaps it’s a little too on-the-nose, as is the soundtrack’s use of “Bette Davis Eyes.” However, the soundtrack is one of the more pleasant notes here, and so is composer Tyler Blake’s eerie score.

West’s skillful use of visual styles is another strong suit, collaborating with his “X” and “Pearl” cinematographer Eliot Rockett, and he edited the film too. And his wit is undeniable – clever use of comic relief, particularly pop culture jabs of the day.

I never thought of West as someone who played it safe. He offers this Bette Davis quote at the start: “Until you’re known in my profession as a monster, you’re not a star.”

OK, point taken. Let’s move on. I think this story has run its course.

“MaXXXine” is a 2024 horror film directed by Ti West and starring Mia Goth, Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito, Bobby Cannavale, Michelle Monaghan, Moses Sumney, Halsey, Lily Collins, and Simon Prast. It is rated R for strong violence, gore, sexual content, graphic nudity, language and drug use, and has a 1 hour, 44-minute runtime. It opened in theatres July 5. Lynn’s Grade: C-.