The Fly /The Fly 2 2000 Horror Movie Review

The Fly
David Cronenberg’s 1986 remake of the science fiction classic about a scientist who accidentally swaps body parts with a fly is both smart and terrifying: an allegory for the awful processes of slow death and a monster movie with a tragic spin. Jeff Goldblum gives a masterful performance as a sweet, nerdy scientist whose romance with a writer (Geena Davis) makes him more fully alive. Next thing you know, a tiny oversight in an experiment causes him to transmogrify, gradually, into something more like an insect than a human. This is Cronenberg (Scanners, Videodrome)  country, so expect The Fly to be a gross-out, but in the way that disease corrupts the body and can make a loved one unrecognizable on every level. This is one of Cronenberg’s best films, and certainly one of the important movies of the 1980s. —Tom Keogh

  The Fly II
Chris Walas, the effects whiz who turned Jeff Goldblum into the gooey, grotesque Brundle-Fly in David Cronenberg’s The Fly, makes his directorial debut in this equally icky sequel. Eric Stoltz is Brundle’s genetically diseased offspring, a boy genius brought up in an experimental laboratory by a nefarious foster father eager to see what his inevitable metamorphosis will bring. No surprise here: like father, like son.  Daphne Zuniga is his sweet young girlfriend, and John Getz reprises his role from the first film as a bitter alcoholic with a very bad fake beard. This cut- rate “Son of the Fly” knockoff pales next to Cronenberg’s classic, degenerating into a gory revenge flick. Walas strains under a limited budget, and many of the more elaborate creatures (a monstrously mutated dog, the skeletal fly monster leaping about the warehouse-like lab) are rather shabby. The makeup is suitably gooey, slathered in ooze and pus, and the mayhem-filled finale is a nasty but impressive over-the-top frenzy of blood and gore climaxing in the nastiest piece of poetic justice since Freaks. The opening birth scene (with a look-alike subbing for mom Geena Davis) is an homage to Larry Cohen’s It’s Alive. —Sean Axmaker