Sting (Anna Dubrich)

Sting, a 2024 horror flick, buzzed into theatres with a unique blend of chills and chuckles. Directed by a newcomer to the genre, the film stars a cast of fresh faces and seasoned veterans, weaving a tale that’s as eerie as it is eccentric. At the box office, it performed with a modest sting, neither swarming the charts nor falling into obscurity. The score for Sting is by Russian-born Anna Dubrich, a composer whose work I’ve been unfamiliar with so far. She’s earned a Bachelor’s and a Master’s Degree from the Munich School for Performing Arts, has wonder several musical awards and worked with Marco Beltrami on Scary Stories to Tell in the Dark and Fear Street.

Anna Dubrich’s score for Sting is a curious concoction of plucked strings and quirky motifs. The main character, Charlotte, is musically depicted with an 8-note motif that’s somewhat child-like but also mysterious. Frank the exterminator’s theme contrasts with a funky guitar and light percussion, adding a quirky edge to his on-screen presence.

The score leans heavily on plucked sounds (as you might expect when you think: spider, web, strings), from pizzicato strings to metallic percussions. Traditional horror elements like screeching strings and ominous stingers are present but don’t quite send shivers down the spine. Instead, they play into a lighter, almost satirical mood that leaves one questioning the film’s intentions—are we to laugh, or to look over our shoulders? To me, the score is too much a by-the-numbers work. Ironically perhaps, it sounds like a score that doesn’t dare to get too scary, and thus loses impact.

As the film unfolds, the music follows suit but doesn’t evolve significantly. It mirrors the on-screen action without carving its own emotional journey, remaining subdued even when a crescendo seems due. The result is a score that, while technically sound, feels somewhat adrift between genres. Realising that Dubrich has worked with Beltrami, may explain some of her choices in orchestrating the action pieces. There are rhythmic elements that remind me of Beltrami.

Upon first hearing Dubrich’s score, I was intrigued by its airy orchestrations—a departure from the heavy-handedness often found in horror. However, as the music continued, my interest waned; the score’s ambiguity left me searching for a clearer direction. The music, much like some of the film’s ideas, seems to falter in execution. I’m hesitant to recommend Sting’s soundtrack for isolated listening. It’s competent and has glimmers of creativity, but lacks a memorable hook or originality that would warrant a listen outside the movie’s context. I acknowledge the craftsmanship but long for a stronger thematic presence and emotional connection. [20 tracks, 38m]

Article by Pete Simons (c) 2024 Synchrotones