Providing a useful variation of Tom Ripley for the era of social media, “influencing” was a success in 2023. So director Kurtis David and Cassandra Naud, director Kurtis David and Cassandra Naud, are therefore now a punch of Cassandra Naud and influencers “.
The accusation act of narcissistic online culture is only an excuse for glamorous intrigue, and the motivations of our anti-heroine which were not often lethal remain just as cloudy as the last time. But a good time in enviable vacation places is guaranteed, with macabre disappearances for many main personalities here served like caviar in Sashimi. This tasty, if not particularly healthy, will be served on chills later this year.
A prologue finds a young woman who cut her own throat on the patio of a luxury manse from Southeast Asia, then crawling towards a cell phone that sounds whose call could have saved her … or not. We do not get the background behind this episode for a good time, because the script (this time written only by Hard Plus, without the co-author of the first film, Tesh Guttikonda) deploys a complicated structure that makes big jumps in the location and time. The first real chapter takes place in the south of France, where Parisian Diane (Lisa Delamar) celebrates her first birthday as a couple with Catherine (Naud), whom we know to be the deadly CW, the series in series and the killer of young tourists entitled.
But these two seem really in love, their weekend romance in a splendid rural inn spoiled a little when it turns out that the special room they had reserved was usurped by a British travel vlogger dominant Charlotte (Georgina Campbell of “Barbarian” and “Bird Box: Barcelona”). CW – or whatever its name currently – will of course be ready to let this slight intervene unpunished. However, Diane remains perfectly aware of the violent or present actions of her lover … until she stumbles on unpleasant evidence, triggering a confrontation which ends this romance abruptly.
Meanwhile, the surviving victim of the previous film Madison (Emily Tennant) tries to calmly rebuild his life in North America. She was acquitted of several murders in this story for lack of evidence. But as Perp CW’s elusive has never been found, the Internet continues to hunt it, with the guilt hypothesis of conspiracy theorists only refreshed when a few podcasters attract Madison to an interview that releases all the old accusations of Amanda Knox. This new exhibition puts it back on the CW radar, and vice versa. The detective of Madison first takes her to France, then in Bali, where the worried family of Diane believes that she fled with “Catherine”.
You already live the big life there while promoting as online celebrities is a harmful couple, the Blowhard Jacob Manosphere (Jonathan Whitesell) and the runder conservative Ariana (Veronica Long). He sells a misogynist rhetoric, he is only half-saying when, in fact, dominated by his girlfriend, who herself parrot propaganda as “the cult of genre ideology comes for your children !!” Someone who really saw Andrew Tate’s lifestyle, Jacob, only feigns his bestie Cameron (Dylan Playfair). Needless to say, all these vain, privileged and self -promotional tremors will soon meet CW, then regret it – even if Madison Zeros Avenger in the place where this lady is located.
Hopscotching from one narrative panel to another (there is a long flashback of about two thirds), harder can sometimes seem to hinder its own suspense mechanics. This also requires a considerable suspension of disbelief to buy an endless and malicious mastery of online CW, whether by ruining someone else’s life or assuming another new identity for itself. Not to mention the improbability of his unrestrained for so long despite so many holly tourist hotspots – as a woman with a very prominent birth spot on one side of her face. Is this physical imperfection the source of its bubbling resentment towards those who “poison water” of culture and discourse in the world? As before, we can only guess. Presumably, at some point, the filmmakers will unlock the mystery of CW with an original explanation. But this time is not “influencers”.
However, this film simmer well until it bubbles. The culminating chaos gives a respect due to CW and Madison – even if their game of combat of girls is undoubtedly too slapstick – while delivering a serious bloody misfortune for several others. The thrill by proxy “well, these people probably deserve it”, is underlined by an omnipresent atmosphere of the excess of money taken to accelerated. Everyone looks like a model or at least dresses like a (Naud is actually used as a costume designer). The locations are fabulous, so that after a while, you start to ask yourself why we would even care about a station doesn’t Have an infinity pool.
So much value of the bow of the eyes is maximized by the wide -screed photography of David Schuurman, which frequently takes us more with drone views on spectacular landscapes. By encouraging the original partition of Avery Kentis is a cool reading list of various multinational tracks strengthening the idea that these characters exist on a permanent vacation that most viewers could not afford – and perhaps suggest that they deserve what happens to them accordingly.
