Ninety-one minutes, including seven allocated for closing credits, proves insufficient for "Sting," a modest horror caper that features a flesh-eating spider terrorizing a group of Brooklyn residents. An extended runtime would likely have enhanced the film, as many characters and animal attack sequences feel rushed and underdeveloped in this otherwise polished genre piece. While a B-movie of this nature has its limitations, an additional 15 to 20 minutes could have benefited this Spielberg-esque creature feature, which showcases creature effects by Wētā Workshop, known for their work on the "Lord of the Rings" trilogy. The creative team behind "Sting," led by writer and director Kiah Roache-Turner, recognized for "Wyrmwood: Road of the Dead," clearly possesses a deep appreciation for genre films; however, this passion does not translate into effective thrills or engaging adventure drama.
Similar to many post-Amblin productions, "Sting" delves into the strained dynamics of a nuclear family, except when it adheres to the conventional "When Animals Attack" formula. Ethan, portrayed by Ryan Corr, embodies the archetypal post-Spielberg father, whose primary flaw is his tendency to take on too many roles. He serves as the superintendent of a Brooklyn apartment complex managed by the frugal and somewhat questionable slumlord Gunter, played by Robyn Nevin. Additionally, Ethan is a comic book artist on the rise in his career.
For his comics, Ethan takes inspiration from angsty pre-teen Charlotte (Alyla Brown), the daughter of Heather (Penelope Mitchell), Ethan’s exasperated partner. Ethan cares but is still insecure in his dual roles as provider and working stiff. Typically manageable problems add up fast, especially a mysterious pest issue in Gunter’s building, as well as a growing rift between Ethan and Charlotte. No adults can help relieve Ethan’s burden, not even Frank (Jermaine Fowler), an aggrieved, wisecracking exterminator. Enter Charlotte, the most sympathetic character in “Sting,” possibly because she’s the one who’s most defined by dramatic/situational peril.
You don’t have to like Charlotte to care about scenes where she first raises and then chases after Sting, a pet spider who crash-lands to Earth in a ping-pong-ball-sized asteroid. Sting gets bigger over the course of the movie, but he never really adds much to “Sting” beyond a generic threat. Charlotte could have been enamored with and then disgusted by an irradiated field mouse or a man-eating toilet ‘gator. The fact that Sting’s a spider doesn’t really mean anything, which is strange given how much time Charlotte and the others spend getting around Gunter’s building using an elaborate network of air vent tunnels. You might think that a story about an overtaxed dad and an underappreciated daughter might have more to say about spiderwebs and family life. You’d be wrong, in this case.
Sting 2024 Watch on 123films
The film "Sting" offers little insight into the dynamics of Charlotte and Ethan's relationship, primarily focusing on the typical narrative of reconciliation. Wētā's portrayal of Charlotte's spider is visually impressive for a giant black widow, yet the design ultimately feels underwhelming. The creature is merely a black spider adorned with a small red stripe along its back, which raises the question of creativity. A well-executed but generic antagonist does not elevate the film, especially when the characters themselves are archetypal. The monster-centric sequences are too brief and lack the pacing necessary to evoke suspense or horror.
While the spider webs, bodily fluids, and gore effects are effective due to their minimal need for exposition, elements that require a more nuanced touch, reminiscent of Spielberg's style, come across as vague and lacking depth. Even the more humorous aspects of the film appear half-baked. For instance, the character of Gunter’s forgetful sister Helga (Noni Hazelhurst), who is the first to notice Charlotte’s pet, could have been developed further. Similarly, Frank, a supporting character portrayed by a committed actor, deserves more substantial material. Although these characters are intended to be endearing, many scenes, one-liners, and plot developments feel haphazard rather than thoughtfully constructed. This lack of depth may lead audiences to recall other, more compelling monster films.
Imitating Spielberg and his successors is not inherently a flaw; however, it requires a level of patience to thoroughly understand their techniques. "Sting" often resembles a film crafted by eager yet inattentive admirers. The comedic moments—such as the line, “Why didn’t you get a ****ing dog?!”—lack sufficient buildup or suspense to be effective. Additionally, the action sequences frequently begin and end without the necessary fluidity or vigor to convey a sense of significance.
In a particularly chaotic yet unconvincing chase scene, Eric struggles to ascend a vertical air vent, wheezing as he goes. While one can infer the reason for his exhaustion, the film fails to provide adequate visual evidence of his struggle. There is insufficient time for the audience to either fully experience the tension or to form emotional connections with Eric and his family, resulting in a disjointed pacing where the rapid scenes feel sluggish and the slower moments feel rushed. "Sting" possesses many promising concepts but lacks the creative cohesion to effectively unite them.