Texas, 1979. Led by producer Wayne (Martin Henderson), a group of young hooligans: actors Maxine (Mia Goth), Jackson (Scott Mescudi, AKA Kid Cudi), and Bobby-Lynne (Brittany Snow), director RJ (Owen Campbell), and sound/lighting/cinematography assistant Lorraine (Jenna Ortega) are making a low-budget adult film at a farmhouse, unbeknownst to its golden-ager owners, Howard (Stephen Ure) and Pearl (also Mia Goth). Unluckily for our plucky protagonists, the couple is hiding a deadly secret.
I’m not a slasher fan, but I’m a Ti West enthusiast, so instead of giving X a pass, I gave it a go. And I was impressed. At first, it was hard not to be reminded of Tobe Hooper’s films Eaten Alive and of course The Texas Chainsaw Massacre (it’s widely promoted as an homage to the latter), in both plotline and setting. But the film makes nubile young creatures getting picked off in a swampy setting all its own. The first murder isn’t until an hour into the movie; instead we get character development and social commentary. The film explores the hunger for the American dream, a longing for the power of beauty and being a sex symbol. As Pearl begs her husband, “Tell me I’m special.”
There is lots more to like. I love the use of irony throughout. Like when Maxine, seeing a splattered cow on the road, states, “I hate blood and guts,” and promptly throws up. Our final girl, rather than a chaste virgin, is a coked-up wannabe porn star. While there are plenty of gratuitous sex scenes, we get scantily clad male characters meeting their doom instead of women, who mostly meet their doom fully clothed. The wordplay is amusing, particularly the porno-speak double entendres and the foreshadowing phrases like “chop-chop.” The characters are overall pretty likable, my favorites being badass Jackson and RJ; he’s played by probably the least famous person in the ensemble, but he stands out by how invested he is in being a real director, with his fancy camera techniques and keen eye on production value. Howard and Pearl have some touching moments, like when Howard tells Pearl that she’s always the most beautiful woman he’s ever seen.
I have few gripes. Mostly that I don’t understand the continuous cross-cutting, for example switching back and forth from a TV preacher to a herd of cows. Is it a statement about organized religion? If so, were sheep too on the nose?
Otherwise, it’s a delight. Check it out if you’re in the mood for thought-provoking nudity and a bit of gore.
GhoulieJoe 