“Sissy” gets better by the second, as Cecilia weaponizes her rebranded persona to the point where “Sincerely Cecilia” becomes a dual personality. Aisha Dee embraces social media behaviors as disturbing real-world practices, playing mousy and innocent as Alex screams insults like “psycho.” Cecilia records new uplifting videos atop buried corpses and ushers cabin-in-the-woods gruesomeness that’s far more successful than the fanciful satire. Characters remain in awe and unable to match the speed in which Cecilia loses control, which is a stylistic choice that’ll ostracize those more interested in narrative scolding — that’s not this violent, rage-fueled mishmash of victim-blaming and psychotic attention seekers.

The internet feeds on narcissists and loneliness, and rewards performative overzealousness, but it’s not an answer. Barlow and Senes are not here to redeem the irredeemable. They’re hellbent on exposing the ignorance we pass as “harmless” on daily feed scrolls.

Cinematographer Steve Arnold emphasizes “Sissy” through Cecilia’s perspective, which stages scenes with a posh sense of serial killer mania. Cecilia hallucinates cosmic Snapchat filters covering wall-high windows as she rationalizes away murderous guilt, or whispers her soothing mantras until it’s all the camera captures, blurring panicky targets in the background crying for help — it doesn’t matter. Their voices fade away because the only voice Cecilia hears is her own, and she doesn’t want to recognize anyone else unless they’re telling her she’s got nothing to worry about or apologize for because lies hurt less than acknowledgment. Cecilia imagines all these sparkly visual effects and Kenneth Lampl’s meet-cute score, which creates an outrageous juxtaposition against the mindless slaughter. Bashed craniums, broken limbs in pretzel shapes, and gnarly kill sequences are a glamorous shade of depravity despite noticeable computerized blood.

“Sissy” is a movie that stirs internal conflicts but ultimately earns my appreciation through pure exploitation admissions. Aisha Dee captures victims like fireflies and encapsulates everything disgusting about social media princesses who take advantage of the very followers they claim to support — a frayed performance as Dee smiles like the devil. Influencers aren’t inherently evil, only those who don’t understand their position or become hypnotized by the internet’s alternate realism. Hannah Barlow and Kane Senes choose the most in-your-face and extreme medium possible to drive their point home, messily and brashly but not without impact. Sadly, some only listen when the quiet part is said out loud — “Sissy” blares its concerns and horrors like neon demons in front of the brightest ring lights.

/Film Rating: 7 out of 10