Modern killer movies often miss an essential element of the recipe.
Sex.
The recent “Texas Chainsaw Massacre” reboot is a prime example. The female leads of the film do not dress provocatively or undress. They also don’t “catch it in” when Leatherface activates its chainsaw.
Blame it on wake up the crowd or filmmakers trying to avoid the “male look”. Horror movies are not sexy, or thrilling like the 70s and 80s.
“X” is old school in many ways.
It’s a murder movie, full stop, with lots of bloody and bloody killing scenes. It’s also obsessed with sex, giving the film a texture lacking compared to recent bloodbaths.
Oh, and it’s excellent by most counts, from the creepy chills and clever performance to the unrelenting sense of dread.
In short, director Ti West did it again.
The year is 1979, and a group of filmmakers come to a small Texas town to shoot a nude movie. The VHS revolution is on and movies like “Debbie Does Dallas” have made their creators rich.
Why not them?
They made a deal to shoot on an elderly rancher’s property, setting up shop in a building away from the main house. Wayne (Martin Henderson) oversees the venture, discovering his girlfriend Maxine (Mia Goth) and a gung-ho stripper (Brittany Snow) are enjoying on-screen sex with a human movie star. Marine Corps (Scott “Kid Cudi” Mescudi).
This group of meek dreamers, adorable if hopelessly innocent, think their project will make them rich and famous.
RJ (Owen Campbell), a cinematographer with artistic aspirations, said: “It is possible to make a good dirty movie. He sees himself as the next Scorsese or Coppola, but he needs advice from Snow’s character to make a simple gas pump scene more erotic.
Hilarious things.
The cast and crew hide their true intentions from the rancher, but that secret is short-lived. And that’s when the horror elements emerge.
West’s previous horror films, such as “The House of the Devil” and “The Innkeepers,” exemplified “slow-burning” storytelling. They require patience but make it worth the viewers. With “X”, that is only partially true. We enjoyed getting to know the cast of characters and the sly but necessary humor kept us engaged from the very beginning.
Who cares if there’s no bloodshed in the first level?
In addition, the mystery of the old rancher and his equally quirky wife throws viewers off balance in terms of the length of the film.
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Sex is central here, for obvious reasons. Moral boundaries in the film feel broken. Yes, it was the late 1970s, and the cultural conversation about sex has flourished since then. West still spends too much time on those exchanges, assuming there is something profound to share.
That is not the case. The film’s other themes, the clash of sex and Father Time, proved far more compelling.
Another micro mistake? The story repeats itself based on the lectures of a TV preacher, an element that the West overwhelms while adding a bit to the story.
If not, “X” is on target, using clever cinematography and an era-appropriate soundtrack to warn us that the movie in question may not end up on schedule.
West probably pays homage to the horror work of the time – there’s a distinct “Texas Chainsaw Massacre” vibe due to the setting. However, those movies are not as bloody and bloody as we see here.
You have been warned.
“X” shows how horror films can tackle deeper themes without neglecting the basic elements of the genre. And West knows exactly how to combine those two factors.
Hit or miss: “X” offers repulsive genre dishes along with a layered approach to sex.
