The most critically acclaimed horror movie trilogy in recent memory was amazing, but it did get worse with each new movie. Horror is having something of a renaissance in the 2020s, with several notable filmmakers producing some of their best work in the genre. Critics are finally warming up to horror, and there is no shortage of modern masterpieces.

Unlike previous eras which were defined by trends, the horror of the 2020s has variety, with supernatural terrors and grounded thrillers all getting equal attention. This has allowed for greater creative expression, and horror is starting to deliver new concepts for the first time in decades. Elevated horror is still a controversial term, but it’s apt in many ways.

Modern horror filmmakers are now able to blend the art of filmmaking with horror storytelling, and the genre has become decidedly more cinematic. Even when they pay tribute to the history of the genre, recent horror classics are blazing their own trail and are being rewarded with great reviews and strong box office performances.

One of the most ambitious horror projects of the 2020s was a trilogy, and it was a uniquely epic undertaking. It’s the best horror trilogy of the last 25 years, but it wasn’t perfect. It started off strong, but got worse until it eventually concluded. None of the films are bad, but they couldn’t live up to the first.

The X Trilogy Is One Of The Best Horror Franchises In History

Director Ti West’s unᴀssuming horror film X suddenly appeared on the scene, and its ’70s grindhouse-inspired story was a pleasant surprise. Even more surprising was that it was quickly followed by a prequel, Pearl, which debuted a few months later. The finale, MaXXXine arrived a bit later, but the trilogy came and went in only two years.

X is easily the best horror franchise in the last 25 years, and arguably one of the best of all time. Because it was devised as one continuous project, the series doesn’t suffer from the piecemeal approach of other franchises. Usually, sequels are made out of economic necessity and not some larger creative vision, so they can be inconsistent.

Each installment is radically different from the others, though they all star Mia Goth as the lead character. While X is a clear tribute to ’70s grindhouse, Pearl is a technicolor fever dream that turns the Golden Age of Hollywood into a twisted nightmare. Finally, MaXXXine hearkens back to ’80s slashers, with vibrant neon and big hair.

While paying tribute to various eras of horror, the X series doesn’t abandon its own ideas. There is a consistent tone across all three movies that keeps it driving forward, and gives the viewer a reason to be invested in Pearl and Maxine’s ongoing stories. They’re elevated horror, but not so elevated that they forget to be scary.

X Is The Best Movie In The Series

X is the definitive movie of the trilogy, and it stands above its successors. It sets the pace for the series, and it’s the film that best uses tension effectively. It also best captures the essence of the era it’s paying tribute to, and X would certainly fit in among other gritty ’70s horror flicks like Texas Chainsaw Mᴀssacre.

Mia Goth’s dual performance is one of the best in horror history, and it’s as symbolic as it is creepy. Even before seeing Pearl, the audience is given everything they need to know about the spooky old lady. Her motivations are heartbreaking without lessening her frightening impact, and she isn’t just another slasher villain.

The rest of the cast is quite strong too, and X has a high body count with plenty of shocking twists. The two follow-up films are much more ambitious in their scope, but that isn’t necessarily a good thing. Because X is so focused, it manages to tell a compact story that never meanders or grows boring.

Pearl Has Mia Goth At Her Best

Even though it couldn’t top X, Pearl is not without its merits. Its WWI-era setting is not something normally seen i horror, and its inspirations come not from horror films, but from vibrant technicolor hits like The Wizard of Oz. This gives the entire story a surreal feeling, and Mia Goth’s performance is really what puts it over the top.

Goth is deliciously unhinged in Pearl, and her exaggerated overacting is perfect for a film which already has a larger-than-life tone. There’s nothing understated about her performance, which makes for a nice change when sandwiched between her naturalistic performances in X and MaXXXine. Style is so rare in modern horror, and Pearl had style in spades.

Maxxxine Is Very Good But Gets Messy In The Third Act

The X trilogy got worse with each movie, but there is a big gap between Pearl and MaXXXine. The final film in the series is the closest that the trilogy came to failing, and it nearly squanders everything with its poorly-executed third act. It starts as a тιԍнтly-plotted slasher, but devolves into a confusing mess in the final third.

Ascribing deeper meaning to Maxine’s plight was obviously necessary to wrap up the trilogy, but it didn’t need to be so complex. MaXXXine has a lot to say about Hollywood and the nature of fame, but that message could have been streamlined. The over-the-top violence borders on humor, and it falls in a tonal gray area between X and Pearl.

Nevertheless, MaXXXine is still a fine horror film, and it mostly pales in comparison to its predecessors. It also had the added pressure of properly wrapping up such a beloved trilogy, and that was a nearly impossible feat. Ti West’s vision is a highlight of modern horror, but nothing is ever perfect.