Sting Reviews

Despite the inherent creepiness of arachnids, spider horror movies are surprisingly rare, with 1990's Arachnophobia remaining the most noteworthy and memorable. A low-budget spider monster movie from Australia, 2024's Sting confidently enters the genre arena, mixing in a splash of science fiction with its giddy giant-spider-from-outer-space premise. Instead of a trashy, B-grade offering resembling a Syfy original movie, Sting is a serious-minded genre entry, with writer-director Kiah Roache-Turner (Wyrmwood: Road of the Dead) creating the type of movie that will likely give arachnophobes nightmares. It's not memorable or genre-defining, but Sting is an astonishingly competent fright fest with slick, shadowy visuals and top-notch creature effects, ensuring it is a worthwhile watch for genre aficionados.


In a dilapidated Brooklyn apartment block, twelve-year-old Charlotte (Alyla Browne) lives with her mother, Heather (Penelope Mitchell), and stressed-out stepfather, Ethan (Ryan Corr), who also works as the building's maintenance guy. Ethan tries to connect to Charlotte by collaborating with her on a comic book, but the teenager remains isolated and moody in the wake of her parents' divorce. After a mysterious object crash-lands into the apartment building, Charlotte discovers a tiny spider resembling a redback, and she decides to keep it as a pet in a jar, naming her "Sting" after eying a copy of J.R.R. Tolkien's The Hobbit on her bookshelf. Charlotte feeds Sting cockroaches that she catches around the apartment, but the spider's appetite continues to grow, along with her size and ferocity, putting the residents in considerable danger.

Sting entirely takes place within the confines of the apartment building, with a vicious snowstorm compelling the residents to stay indoors. An ensemble of interesting neighbours adds colour to the proceedings, including a convenient spider enthusiast in Erik (Danny Kim), though Jermaine Fowler is the most entertaining and energetic as a visiting exterminator, Frank. The cast mostly features Australian performers espousing American accents, but none-the-wiser viewers will likely assume that the actors are U.S. natives because the performances are effortlessly convincing. As the rebellious young Charlotte, Alyla Browne (Furiosa: A Mad Max Saga) is incredibly believable, submitting a compelling performance with pep, spirit and tangible emotional depth. Alongside her, Ryan Corr is charming and empathetic, while Noni Hazelhurst provides further personality as the forgetful Helga. Roache-Turner endeavours to add dimension to the story by delving into familial dramas, but the effort does not always pay off, with the movie becoming less interesting when dealing with these subplots. More successful are Charlotte and Ethan's creative comic book pursuits.


Even though production took place in Australia, the sense of time and place is enormously authentic. In addition to the impressive performances, the spot-on production design convincingly captures the distinct aesthetic of old NYC apartment buildings. After embracing zany campiness with his Wyrmwood pictures, Roache-Turner aims for a darker tone here without neglecting an all-important sense of fun. Sting features unsettling kill scenes and atmospheric moments of Sting hunting in the dark, but it is also enjoyable watching Charlotte prepare for battle by preparing moth ball water in a super soaker, resulting in a visual homage to Aliens. Hell, the director even throws in a fun homage to The Terminator during the climax for good measure. The special effects are genuinely impressive, with the wizards at Wētā Workshop using terrific practical effects (specifically puppets) with seamless digital effects enhancements to bring the titular beast to life on-screen. The illusion is immaculate, while gory make-up and prosthetic effects further enhance the sense of unease - this is not a movie for the faint of heart. Wisely, Roache-Turner frequently keeps Sting hidden during the shadowy set pieces, relying on sound design, the claustrophobic setting, and the omnipresent threat that she might attack at any time to generate bone-chilling tension.

Thanks to its reliance on practical effects, Sting feels like the right kind of throwback monster movie, feeling more like an entertaining genre offering from the '70s or '80s than a modern, CGI-laden horror flick. It's fun and often funny, while Roache-Turner also adds emotional complexities to the story by exploring themes of isolation and neglect, with Charlotte using the spider to fill her void of loneliness as she yearns for a genuine connection. Furthermore, Roache-Turner shows great affection for the horror genre through references and Easter eggs without weaving something that feels detrimentally derivative. The script is not airtight, as characters sometimes make bone-headed decisions, but Sting gets more right than wrong.

6.6/10