Given the ambition he showed with his Mad Max-meets-Dawn of the Dead B-grade genre piece Wyrmwood (and its respective sequel), it makes sense that Australian director Kiah Roache-Turner would continue his genre mash-ups for his follow-up.  What proves surprising, however, is that for Sting, an ode to the creature feature (and, fittingly, Australia’s fear of the venomous arthropods), he’s blended such a mentality with a family drama, resulting in an occasionally unbalanced, but no less enjoyably camp horror effort that backs its gross effects with some emotional heft.

At the centre of the eventual lunacy is Charlotte (Alyla Browne, recently seen in George Miller’s Furiosa: A Mad Max Saga as the younger iteration of the titular character) – and yes, that name is suitably on the nose given the actions that take place – an artist-in-waiting who’s taken a particular shine to her stepfather, Ethan (Ryan Corr).  Just why their relationship is as important as it is is one of Roache-Turner’s emotional pivots throughout the brisk 91 minutes, but more pressing is her unorthodox “adoption” of a rogue spider she comes across one night as she sneaks through the vents of the New York-set apartment complex overseen by her wicked great-aunt, Gunter (Robyn Nevin, clearly enjoying herself as the archetypal human villain of the piece).

The opening credits clue us in that this spider is alien in nature, which explains why in a matter of hours it increases in size, and how it’s able to vocally mimic particular sounds it hears; Charlotte is all too excited to showcase Sting’s “feeding call” to inquisitive downstairs neighbour Erik (a wonderfully deadpan Danny Kim), who, in return, is rightfully concerned about just what type of species she has willingly let into her house.

As much as Erik warns Ethan and Heather (Penelope Mitchell), Charlotte’s mother, about this 8-legged-monster-in-waiting, we all know it will ultimately be for nought as we eagerly await the moment it outgrows its containment and proceeds to feed on whoever (or whatever) enters its path; note, for those that don’t respond well to the idea of animals hurting other animals, Sting doesn’t play well with others.

The final act of the film is suitably exciting and squirm-inducing as Sting terrorises Charlotte and her family, but Roache-Turner wisely peppers enough gory set-pieces throughout so that we aren’t simply waiting for the horrific conclusion.  Some of the family drama works in between (the dementia setting in for Charlotte’s grandmother, played by a delightful Noni Hazlehurst, is sweet), but there are a few too many moments that stall momentum, which could potentially see audiences check out.  This is a knowingly mindless horror feature and Charlotte’s fatherly woes won’t necessarily hold interest to those who want to see a giant spider crawl into a downstairs neighbour’s mouth and then bust out of their stomach; there’s a reason such an example is specific.

Ultimately the good outweighs the bad when it comes to Sting‘s temperament as a film, mainly due to how much fun it’s having, how heavy its winks are at the audience, and that Jermaine Fowler (who was most likely still hanging around our fair country following Ricky Stanicky‘s Melbourne wrap) adds suitable humour as a put-upon exterminator.  A little Evil Dead, a little Arachnophobia, and a lot of gooey, practical effects, Sting is Roache-Turner’s most accomplished film thus far.  And if this leap in quality between the zombies of Wyrmwood and the bite of this is indicative of his directorial trajectory, his turn as a genre mainstay is only increasingly going to prove more exciting with every shed of blood he gloriously unleashes on screen.

THREE STARS (OUT OF FIVE)

Sting is screening in Australian theatres from July 18th, 2024.

Sting was originally reviewed as part of last year’s Gold Coast Film Festival coverage.

A FAMILY AFFAIR is romantic comedy on Netflix. It stars Zac Efron, Nicole Kidman and Joey King. King plays Zara, an assistant to uber-famous action star Chris Cole. Chris meets Zara’s mother, Brooke, and they start seeing each other. This upsets Zara, who knows about Chris’ playboy past. After a fight with Zara, Chris and Brooke secretly see each other. Zara is furious when she finds out and eventually calls out Chris for his playboy ways. However, once Zara discovers Chris has been in love with her mom all along, she devises a plan to patch things up.

A FAMILY AFFAIR is a bit predictable and promotes the idea that personal happiness is all that matters. However, quality acting and a positive message about the importance of family deliver a fun viewing experience for romcom fans. The movie also rebukes self-centeredness and features a redemptive solution to the differences between Zara and her mother. Efron, Kidman and King deliver appealing performances. However, A FAMILY AFFAIR is marred by too much foul language and a casual attitude about premarital sex. MOVIEGUIDE® advises extreme caution.

(RoRo, B, C, Ho, LLL, S, N, AA, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong Romantic worldview where characters justify their actions because they make them happy and are advised to do what makes them happy, mitigated by some moral, redemptive content including a mother reconciling with her daughter, a positive view of marriage, a positive reference to Heaven, references to love, and, although the daughter is selfish throughout the whole movie, she’s eventually chastised for her self-centeredness by her best friend, which causes her to repent and apologize, plus there’s a positive reference to LGBT relationships;

Foul Language:

28 obscenities (including three “f” words, and many “b” words), 11 instances of profanities using the word God, 3 light profanities, and some obscene jesters of the main character flipping people off;

Violence:

Multiple instances of verbal arguments, but no physical orb actual violence;

Sex:

Two implied fornication scenes (one with upper male nudity and a bare female back) plus one positive reference to LGBT relationships.;

Nudity:

Four instances of upper male nudity, one scene of a woman’s bare back, and a brief shot of a woman in underwear and a bra;

Smoking and/or Drug Use and Abuse:

Some social drinking and two instances of drunkenness leading to sex;

Smoking and/or Drug Use and Abuse:

No smoking or drug use; and,

Miscellaneous Immorality:

Self-centered and conceited characters rarely consider how their actions impact others, but eventually rebuked, and characters sometimes wonder if they can say something because of the political correctness and cancel culture around them.

The romantic comedy A FAMILY AFFAIR is among Netflix’s biggest summer movies. It stars Zac Efron, Nicole Kidman and rising star Joey King. King plays Zara, an assistant to uber-famous action star Chris Cole. Chris has taken Zara for granted, however. As he does everyone else in his life. Zara took the job as a stepping stone in Hollywood but has realized Chris has no intention of advancing her career.

After a heated fight with Chris over the stupidity of an upcoming role, Zara resigns to continue pursuing her dream of becoming a big-name producer. Zara initially hides this life change from her mother, Brooke, with whom she lives. She eventually confides in her mother that she quit because the assistant position felt like a dead-end job.

The next day, Chris realizes his mistake. He visits Zara’s house to apologize for his oversight and offer her advancement toward production roles. However, when he shows up at Zara’s house, she’s out running errands. Instead, he’s greeted by Brooke, who invites him to wait inside.

After a couple drinks and some light banter, they start making out and eventually bring things to the bedroom, where Zara finds them only minutes later. Appalled by what she sees, and aware of Chris’s playboy reputation, Zara forbids them from seeing each other again. That night, she sleeps over at a friend’s house.

A few days later, Chris contacts Brooke, asking her to dinner to discuss what happened. Brooke eventually accepts the invitation. The dinner begins with talk of staying “just friends,” but they decide to pursue romance instead, turning the dinner into a date. They visit Chris’s favorite places, before getting drunk and sleeping together for a second time.

Chris and Brooke keep their relationship a secret from Zara. However, Zara’s suspicions that they’re still seeing each other are confirmed when she catches them at a charity event together. Zara blows up again about the relationship, especially the fact her mother kept it a secret from her. Chris has had dozens of women before her mother. So, Zara begs her mother to stop seeing Chris, who she believes is just using her mother.

Zara spends multiple nights at a friend’s house before traveling to her grandmother’s home for Christmas. There, she sees her mother for the first time since their last fight. Before Zara arrives, however, her grandmother asks Brooke to invite Chris to Christmas to meet him and get a sense of his character.

The holiday progresses smoothly, and Zara starts to support the relationship. However, she discovers diamond earrings in Chris’s bag while they pack to leave. These earrings are a parting gift Chris has given to all his previous girlfriends. Seeing through his façade, Zara realizes Chris is treating Brooke just like he treated the other women before her. Furious, Zara exposes Chris in front of her mother, who promptly asks him to leave.

After a lonely New Year’s Eve spent by all the characters, Chris meets with Zara and confesses to using Brooke like his past girlfriends. He admits he considered dumping her mother. However, he assures Zara he really loves Brooke. He insists the earrings were intended to be a Christmas gift, not a precursor to dumping her. Convinced of his sincerity, Zara devises a plan to reunite the couple.

A FAMILY AFFAIR is a clichéd romantic comedy that doesn’t innovate within the genre often promotes a Romantic worldview that prioritizes personal happiness above everything else. Despite its predictable plot, the movie imparts lessons on self-centeredness and features a redemptive storyline centered on the relationship between a mother and daughter, adding moral depth to the viewing experience.

Efron, Kidman, and King all deliver quality acting performances. Though the plot is unrealistic and predictable, A FAMILY AFFAIR offers an enjoyable viewing experience for fans of lighthearted romance comedy.

Excessive foul language and two implied fornication scenes are the largest drawback in A FAMILY AFFAIR. The foul language includes three “f” words and some strong profanities. So, MOVIEGUIDE® advises extreme caution.

“Do you think this time, people will accept us?”

Do you have control over your own destiny, are you controlled by your fate, or are you a mere puppet in the hands of the gods? This is a question all time-travelling films implicitly ask and explicitly posed by “The Time of Huan Nan” – a heartfelt, thoughtful queer melodrama written and directed by Leading Lee.

Hsia Teng Hung plays Chen Yao Hua, a young man whose father, Bao Ding, has seemingly gone mad with despair for mysterious reasons. Accidentally travelling through time back to 1991, he joins the younger version of his father and the latter’s two friends, soon forming with them a happy gang of close, intimate friends. Unfortunately, fate, or the gods, have little happiness in store for them, as Yao Hua slowly learns more about and takes an active part in the tragedy behind his father’s life.

Although it is named after the food market in Taipei’s Wanhua district, “The Time of Huan Nan” has little to do with that famed location except, perhaps, in a symbolical way. Instead, its heart belongs to the intense friendship between three young men and a young woman, and especially to the budding, heartbreaking gay attraction between An Jian (Chu Meng Hsuan) and Bao Ding (Edison Song). This makes the film a strong entry in the potent BL (boys’ love) wave animating Taiwan’s cinema today.

At a time when Taiwanese society was still harshly patriarchal (things are still far from perfect today of course), the film makes you understand how nearly impossible such queer love was. The story is at heart a beautiful call for tolerance and acceptance of difference and one’s true self, using drama, teen romance and humor to tackle its ambitious themes. At the same time, the film grapples with issues of self-determination, as these young people must confront the age-old decision of what to do with their lives. As one character puts it, “You decide your own future. Or get married and be happy.” But will society let you decide for yourself?

Both An Jian and Bao Ding must grapple with their parents’ authority and what society expects of them, especially Bao Ding whose strict father is in charge of the historic Bangka Qingshan Temple. Bao Ding fulfils special duties helping in communicating with the gods, which puts him in an awkward position given his secret sexual orientation. Does god really love despite class and gender, as Hsia Teng Hung confidently states?

Perhaps the most beautiful scene is when Bao Ding passionately intercedes with the gods in slow motion during a ceremony. His secret lover, An Jian, holds his waist from behind, and the scene remarkably manages to convey both a symbolic sexual intercourse and reverence for the gods, tradition and family.

To truly appreciate “The Time of Huan Nan”, one should focus on the sheer visual beauty and the high emotionality of such scenes, and not on narrative details, as little in the story really makes sense. From the way the protagonist travels through time, to his relationship to his aged father or the ease and rapidity with which he is adopted by his new friends, there is little even remotely believable or logical in the plot.

In keeping with its melodramatic nature, the story keeps adding layer upon layer of drama and might be going too far in that direction, especially in the last third of the film when events turn tragic. The time travel mechanics of the plot become uselessly confused, and at 2 hours and 13 minutes the film would have greatly benefited by trimming some elements of its story, including the half-baked romance between Yao Hua and Kang Min (Wang Yu Ping).

On the other hand, countless beautiful shots and gorgeous lighting enhance the handsomeness of all four lead actors. They all turn in solid performances, especially Edison Song who lies at the emotional center of the story and of almost each frame. The direction is dynamic and resourceful, with plenty of thoughtful camera angles, including beautiful top shots that seem to convey the gods’ own point of view on our protagonists and their beautiful, though fragile, lives.

Can one decide one’s own future then? The film is thoughtful enough to let you answer that question for yourself, although its own ending is a bittersweet one. The past might already be written, but the future is wide open.