Ti West’s latest feature MaXXXine has recently graced theaters, bringing a close to his modern horror trilogy starring Mia Goth. It sees Goth reprise her role of Maxine Minx from 2022’s X and moves on from 70s farmland to 80s Los Angeles decadence. Maxine is still chasing her acting dream, but sinister forces stalk the wannabe starlet. To mark the occasion ComingSoon is ranking all 10 Ti West movies to date.
Since his feature debut in 2005, West has had an interesting journey. With his 2009 breakthrough, The House of the Devil, he became one of a new breed of horror directors. Since then, he’s flitted between horror projects on screens big and small (he directed episodes of the Exorcist and Scream television shows). But it’s the trilogy of X, Pearl, and MaXXXine that have seen his star truly rise outside horror niches.
We’ll leave out shorts and segments in films like V/H/S and The ABCs of Death, so it’s just the ten feature films here. How does MaXXXine fare? Find out below.
10) Trigger Man (2007)
Ti West’s sophomore feature film is arguably his weakest. You can see where a lack of restraint causes problems with what would come to be seen as the filmmaker’s qualities in later films.
Inspired by true events, it tells the story of three hunters who become the hunted on an otherwise typical outdoor excursion.
It’s on a relatively shoestring budget, so there’s that. But it isn’t enough of an excuse for a meandering movie. On the plus side, it’s an early look at West’s ongoing fascination with headshots and the gruesome outcome.
9) The Sacrament (2013)
A sort-of found footage movie documenting a Jonestown-esque cult. It’s given a bit of a realism rub thanks to the Vice connection, but something doesn’t quite sit right.
The problem is certainly not the mesmerizing performance by Gene Jones (The Last Stop in Yuma County, No Country for Old Men) as the cult leader. His often spellbinding showing lifts a surprisingly sloppy movie that does at least manage the odd shocking moment.
Basing it (loosely) on a notorious real-life tragedy might well rub some the wrong way, but the biggest issue with that is how predictable it makes the film’s outcome.
8) Cabin Fever 2: Spring Fever (2009)
Following in the footsteps of Eli Roth’s gooey, grisly body horror about a skin-melting virus perhaps isn’t a dream gig for everyone, but Ti West makes an earnest fist of it with Cabin Fever 2.
Taking the action from the backwoods to a senior prom where water contaminated at the end of the first film has found its way into a popular bottled water just in time for the big spring fling. Cue some aggressively gross behavior and aggressively gross flesh-slopping as West mashes together high-school sex comedy and gross-out horror with mixed results.
The film’s characters are horrid specimens, which makes reveling in their unpleasant deaths fun, but makes the lead up a grueling watch for a different reason. Just about worth persevering with for some wonderfully disgusting dark humor that would become something of a signature for West.
7) The Roost (2005)
The feature debut of Ti West is a rough and ready throwback (naturally) that sees a group of friends come across a farm inhabited by bloodthirsty vampire bats…and zombies.
It has the hallmarks of West’s future style and unashamedly channels DTV horror in the best way. A simple, cheap, and effective homage that is great with the intoxicating substance of your choice.
6) In a Valley of Violence (2016)
Something of an outlier in West’s filmography, but a welcome one. In a Valley of Violence is an unapologetic Western featuring Ethan Hawke, John Travolta, Taissa Farmiga, and Karen Gillan (and of course, Larry Fessenden).
Drifter Paul (Hawke) arrives in a small town on his way to the border. The town is on its last legs and ruled over by an inept Marshal and his corrupt son (a brilliantly dickish James Ransone). What follows is essentially the setup for John Wick, but with more substance and a more methodical pace.
5) MaXXXine (2024)
The weakest of the X trilogy? Perhaps. But MaXXXine does some pretty interesting things as it ties up the dirty, gory saga of Maxine Minx.
It’s an echo of an era and of what came before. It’s the warnings of both X and Pearl heeded, the difference in attitudes towards various subjects at different periods, and how that affects two similar choices.
Ti West creates a scuzzy 80s feel that is part homage, part parody. It can be jarring, as the 80s have been the decade overdone more than any other, but there are some fun little moments.
4) The Innkeepers (2011)
The slow death of the Yankee Pedlar Inn makes The Innkeepers one of my favorite Ti West movies for personal reasons. But it’s a quietly effective ghost story that circumvents the obvious story angles for something mundane and melancholy.
It tells the story of two employees at a near-dead hotel coming to terms with the end of an era that’s neither glorious nor destructive. It’s a tale of tragedy that mourns the loss of heritage and history as much as the loss of people.
3) X (2022)
The first in Ti West’s slasher trilogy sets a very high bar with an unconventional villain and a pleasingly scuzzy 70s vibe that gives us a first hint that this will be a series that pays tribute to horror’s past.
A dreamy, grimy, dirty procession of sex and death that mines its horror from regret, the march of time, and much splattery gore. Mia Goth begins her blood-soaked voyage to horror stardom in fine form.
2) The House of the Devil (2009)
In contrast to Ti West’s other 2009 movie (Cabin Fever 2), The House of the Devil is a clearer indication of the filmmaker’s abilities and style. A typical babysitter in peril story is delightfully turned on its head with a methodical 80s throwback.
Features a few notable alumni from that mumblecore/mumblegore pack of actors and directors, including what can only be described as a ”memorable” role for Barbie director Greta Gerwig.
1) Pearl (2022)
No sooner had X come out than a sequel/prequel was announced. And what a follow-up it is.
Instead of continuing Maxine’s adventures, Pearl takes us back into the early life of X’s murderous OAP of the same name.
Pearl instantly elevated what X was because they pulled at the same threads of desperation to be noticed through a historical cinematic lens. Whether porn or performance, these films show the common ground for those hungry to escape a ”normal’ life”. To be free of caring about societal judgment.
It’s also Mia Goth’s best performance of the trilogy. Pearl is a character full of mesmerising comedy, tragedy, and malice.
