“Sting. Horror of the Night / StingMovie Explained: What’s Up With the Ending?

On June 13, the arachnophobic horror film “Sting” started showing in cinemas. Horror of the Night”, in which the heroes will have to confront a huge bloodthirsty spider. In the review below we tell you how scary it is to watch this action and what other emotions the film can evoke.


at its best moments the film looks exciting; high-quality use of practical special effects and the “deep mise-en-scène” technique; a well-realized spider monster;


the script is sprinkled with unnecessary family relationships and comedic moments; blatantly uneven pacing of the story;

“Sting. Horror of the Night / Sting

Genre horror film
directed by Kiya Roach-Turner
Starring: Ryan Corr, Alila Brown, Penelope Mitchell, Robin Nevin, Silvia Colloca, Danny Kim, Jermaine Fowler, Tony Jay Black
Premiere cinemas
Year of manufacture 2024
IMDb website

Hollywood movie characters keep many people as pets. In The Terminator, Sarah Connor’s friend Ginger had a cute iguana, Pugsley, at home. Gremlins featured the fantastic creature Mogwai. And in Mr. Popper’s Penguins, Jim Carrey got a whole flock of penguins. It seems that the heroine of the new horror film “Sting. The Horror of the Night” surpassed many of its predecessors in this indicator.

One day, 12-year-old Charlotte discovers a small spider in her grandmother’s apartment. She carefully puts him in a jar and gives him the name Sting (not Bodka – and thank God). Feeding defenseless cockroaches to her newly adopted pet, the young researcher witnesses how her ward (or, rather, ward) extremely quickly increases in size.

For the time being, the girl rejoices at how deftly Sting deals with his doomed victims. But this contemplative idyll comes to naught when Charlotte herself and her family turn into potential dinner for a voracious arachnid. If last week on Netflix they tried to scare viewers with a huge shark in the horror film “In the Depths of the Seine,” now we are faced with an overgrown spider. It is obvious that French horror owes its existence to Spielberg’s “Jaws,” and “Alien” is clearly visible among the sources of inspiration for the creators of “Sting.”

The local monster is also of alien origin, and some shots are blatantly reminiscent of the classic based on Ridley Scott. Here you have vile mucus flowing from a predatory mouth, and the “birth” of a monster, similar to the appearance of a facehugger, and jumping on victims in the spirit of the latter, and even the “acid factor”, which, however, is now working in the opposite direction. What can we say about the girl who migrated here from Cameron’s “Aliens”. In addition to the name of the main character, the very first frame of the film suggests an allusion to weaving a web: we are shown how the aforementioned old woman is engaged in knitting. But until it comes to the real spider hunt, the viewer runs the risk of getting bored. The trouble is that in an hour of running time, the only thing worthy of mention is the scene of the brutal massacre of a lonely woman, Maria, who lost her family. This episode is really well shot and evokes genuine horror.

Otherwise, the camera wanders uselessly through dull corridors, darting between apartments and sometimes peering ominously into a ventilation pipe. At the same time, almost nothing interesting happens.

As Spider grows by leaps and bounds, Charlotte, like a true rebellious teenager, shows a clear disrespect for her stepfather Ethan, who is nervously torn between his duties as a house manager and writing comics (not Spider-Man, for all concerned). Snow is falling furiously outside the window. Somewhere in the background of the plot about an increasingly obese spider, a boring family drama unfolds.

It becomes significantly more interesting after an hour of viewing, when Sting acquires considerable size and begins his bloody feast. In the final act, a fascinating confrontation unfolds between the heroes and the spider. This segment is full of very decent suspense, and the fate of the characters finally becomes not indifferent.

The heroine of Alila Brown, who only recently appeared in the image of young Furiosa, absorbed the best qualities of not only the mischievous Kevin McCallister, but also John McClane along with Sarah Connor. However, this fantastic factor is almost not annoying. Ryan Corr confidently portrays extreme helplessness right up to the climax, only to show unheard-of heroism in the finale. One of the best scenes in the film features Sylvia Colloca, who many viewers might remember as one of the vampires in Van Helsing. The situation is a little relieved by a ghostbuster on minimum wage played by Jermaine Fowler, as evidenced by the legendary redesigned logo on his vehicle. It is he, along with his grandmother suffering from dementia, who is responsible for the comedic notes. They are not very appropriate here.

Director and screenwriter Kiya Roach-Turner, who had previously filmed outright cheap trash, produced a horror film that was boring for an hour, but fascinating in the final act, equal to the best representatives of sci-fi horror.

The director clearly knows how to work with practical special effects, but did not calculate the pace of the story. Perhaps, if he had not been scattered on family drama and comedy episodes, but had focused more on building high-quality suspense and the actual scary component, the film would have only benefited. And it turned out very uneven.


“Sting. Horror of the Night” is far from the worst representative of the creepy genre, but after watching it it’s hard to get rid of the thought that all this could have looked much more exciting.

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