‘X’ Review
Stars: Mia Goth, Martin Henderson, Brittany Snow, Jenna Ortega, Owen Campbell, Kid Cudi, Stephen Ure | Written and Directed by Ti West
Writer-director Ti West (House of the Devil, The Innkeepers) consolidates his reputation as one of America’s best horror filmmakers with this terrific ’70s-set slasher that plays like Boogie Nights meets The Texas Chain Saw Massacre, only without the titular implement. Tense, erotic and perversely playful, it’s one of the best horror films of the year.
Set in 1979, X opens in Texas, where hustler-producer Wayne (Martin Henderson) has hired a remote farm cottage in order to film an independent porn movie with his girlfriend Maxine (Mia Goth), ambitious director-cinematographer RJ (Owen Campbell), sound recordist Lorraine (Jenna Ortega) and uninhibited co-stars Bobby-Lynne (Brittany Snow) and Jackson (Kid Cudi). However, the creepy elderly couple (Stephen Ure and Goth, under prosthetic make-up, as Howard and Pearl) who own the barn haven’t been informed of Wayne’s intentions and they soon make their presence felt.
West’s direction is exceptional throughout. He has an eye for a great image and he can craft the hell out of a suspense sequence, generating several memorable scares in the process. His sense of timing is extremely impressive too – he knows exactly how long to hold a particular shot to achieve the desired effect, ratcheting up the tension to nail-biting levels. He’s also not above inserting notes of black comedy – there’s a delightful drone shot in the first half of the film, where initial laughter gradually gives way to slow-burn terror.
The savvy script contains several interesting layers, ranging from the celebration of independent filmmaking to complex relationship dynamics (there’s an inspired turn involving sexual hypocrisy), while also skilfully subverting a number of tried-and-tested horror tropes. However, its most striking achievement is the degree of sympathy it finds for its two ostensible monsters, working in a powerfully moving exploration of the horrors of getting old and the resulting effect on physical desire and performance.
In addition, West includes multiple references to horror classics, but they’re worked into the story in a way that feels organic, rather than gratuitous – the nods to Psycho and The Shining are especially well handled in that respect. The editing is striking too – at one point, West has the script call attention to the director’s “artsy”, French New Wave-inspired intentions in that regard, so it’s both a clever callback and an effective technique in its own right.
The effects work is also top-notch throughout, from the prosthetics on Ure and Goth to the gore effects themselves, augmented with some exceptional sound design. Similarly, if digital trickery is involved in the copious nudity (various body doubles get quite prominent credits), then it’s entirely seamless.
The performances are a joy to watch. Goth brings depth and determination to Maxine and does an astounding job under heavy make-up as Pearl, to the point where you’d never know it was her if it hadn’t been revealed in pre-publicity. Similarly, Snow is a lot of fun as the unapologetic good-time-girl, while Jenna Ortega confirms her up-and-coming scream queen status – the scene where she’s called upon to display utter terror is an instant classic of its kind.
In short, X is a thoroughly enjoyable erotic slasher that knows exactly what it’s doing and nails every moment. And if you’re hungering for more, then there’s good news – West and Goth have already shot a secret follow-up prequel called Pearl, centring on a younger version of her old-age character in the 1920s.
**** 4/5
X is in cinemas from tomorrow.
