Qualities of the homage horror are few and far between. They feel similar to riffs on other, older and better ideas or a continuation of a thought or theory that never needed continuing. But X maintains itself and avoids the broad strokes of a genre fuelled so frequently by tribute and praise. Ti West takes to the genre with strong intentions in mind, artistic deliberations that prey on the fear of silence and the anxiety of isolation. Good intentions may come from characters that are clawing out for a bit of creative success, but their actions and the lack of them at times, come with imaginative consequences that West draws out with an eerie sincerity.
At its best, X is a challenging and gory piece that manages to prod its audience into some fearful moments. It manages to delight with the ease of fear it has to show, using blood and gore as more than just a moment of shock. It is just as important a prop as the horrors that wait for the unlikely group of moviemakers at the heart of this feature. Mia Goth and Jenna Ortega are well cast and enjoy their continued, respective spells in the creatively-driven horror genre. Ortega may have been a spare part to the Dave Grohl-led Studio 666, but it would appear she has a knack for the unsettling, even if at times it isn’t all that rewarding. X is a rewarding piece though, an unsettling one to watch hours before heading to sleep.
That is the best of the genre though, surely? The mindset it can create and the tone it takes advantage of being at the core of West’s direction, which relies on a look back at the freewheelin’ nature of the 1970s and the rise of drug culture, taking a swift turn from easy spells of marijuana to hectic needs of cocaine. A seedy atmosphere overlays X, which takes full advantage of the surroundings, the time it is set in, and the soundtrack that this period provides. Grainy feels, an almost grindhouse feel to it all but removed far, far away from its actual aesthetic positives. When a genre is so contaminated with groups being picked off by a sacred and scary entity, it is reassuring to see that X can stand out not just with its horror implementations but its style choices. It showcases the turn of a century, but with the usual homage setlist necessary to the exploitation and style of the early years of horror features.
Dirty characters, dirtier deaths and a real bit of wildcard fun to be had, X represents some crucial turning points for the horror genre, rehashing why they were important when they came about. The Texas Chain Saw Massacre may have been decades ago, but that does not mean its influence cannot be felt here. Backed up into a minivan, driving across the deserted lands in search of that American Dream. X shows lucid consequences in chasing what so many woke up from. But it does so with style, with a delicious flutter of ingenuity and presence that so many horror films are lacking. It is quality in its performances, stylish in its presentation and horrifying in its execution. What must remain clear, though, is that X continues the trend of replicating past success. It just does that well.
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