La mosca 2

The Son of Seth Brundle (Eric Stoltz) is raised in a laboratory by the company that funded Brundle's ground breaking research. He grows much faster than a normal man and is intellectually superior even at the age of 5, he is asked to continue his fathers work and begins to mix with other people, finally developing his young emotions; that is until the part of him that is Fly begins to take control.

The movie does start really well and has an interesting plot, but the acting is not sufficient enough to capture the complexities of the character and sell them to the audience.

The horror is really just a gore-fest that fails to be scary despite the desperate efforts of the sound engineers and the music score.

It's not awful, but it is inferior to the original 5/10

I caught this movie on cable last night; this is one of those films where the memory of having seen it years ago is better than the actual film.

The production design is actually quite good, surprising when, upon closer inspection, they apparently only built one set (the lab), and the rest of the scenes-- all brief ones-- were shot at cheap locations, such as Beth's houseboat, Martin's condo, and such. The acting is decent, considering the lack of any character at all (especially braindead Beth). Eric Stoltz and Daphne Zuniga actually put some effort forth here, which is nice, considering this was probably little more than a paycheck for both.

The problem is the script. First-time director Chris Walas does well with what he was handed-- probably in pieces, from four different screenwriters-- but I got the feeling that a coherent, dramatic story arc was chopped down to a lightning-paced 111 minutes. It seems like entire scenes are missing-- or else they were never written. The bare bones I watched were perhaps merely excuses to link together special effects and make-up from Walas's FX company.

In that sense, it's kinda like a porno film. No one cares about the plot, the just wanna see the "money shot." And this one has a few-- they spent all their money on a) mutant dog ($100), b) Unlucky Security Guard #2 ($1000), c) fly cocoon ($50), and d) Alterna-Stoltz (priceless). This explains why, with the exception of Unlucky Security Guard #2, the deaths are not nearly graphic enough, and thus unsatisfying... considering how great a length the "story"-tellers go to make us hate everyone in the film who ISN'T Martin or Beth (or Borans).

The film is shot well, considering how few locations are used, though several directing mistakes jumped out, not necessarily worthy of the "goofs" section. For example, note how when Beth enters the lab, never having been there before.... at the end of scene, she somehow knows the exact command to type into the computer to open the doors on the OTHER SIDE of the room. How does she expect to find her way back to her desk? (which is apparently down the hall, less than 100 feet away... just like everything else in this building, which, by the way, we never see from the outside)

More proof there's another hour of this movie that's either on a cutting room floor somewhere, or just never got filmed. Pity the entire movie couldn't fulfill the promise of the single, memorable final shot, as the credits appear.

5/10, cuz it's half a film.

Yep, the same studio that made the original classic "The Fly" from the late Fifties decided that it was time to revisit the franchise a few decades later. But this sequel to the far superior David Cronenberg re-visitation is not so much a vehicle for its grade-B cast, as it is a showcase for its new director, special effects wiz Chris Walas. To his credit, he knew that this was his opportunity to go bananas, and that's exactly what he did.

Eric Stoltz is given the unenviable task of picking up where Jeff Goldblum left off, as the equally hapless son of the Seth Brundle character. Geena Davis wisely took a time-out, so a lookalike actress takes her place as Veronica "Ronnie" Quaife, who conveniently gets to die in the first few minutes, in a childbirth sequence that may make anything in the "Alien" series pale by comparison.

As ooky and icky as Cronenberg's bodily mutation-horror point of view was in the previous outing, Walas takes those cues to the 'nth' degree here, so those who are animal lovers or possessing delicate stomachs are hereby given fair warning: this is NOT a pretty picture.

Cinephiles who have wasted oceans of print criticizing THE FLY II should take note: the notices were equally severe all those years ago for RETURN OF THE FLY, when Fox tried to cash in then on the predecessor that had such a great pedigree. That cast included Vincent Price, Herbert Marshall, Patricia Medina and Al (David) Hedison.

With the new-fangled model starring Jeff Goldblum and Geena Davis, didn't anyone get even a hint of "deja vu all over again?" C'est la vie. The only person sticking around (pun intended) from the "new original" is John Getz as the unfortunate bastard Stathis Borans, and to his credit, he played it with deadpan perfection, not to mention that his character is given the sequel's best dialogue. In other words, it's pretty obvious from the way he played things that Getz "gets" it.

Even if Stoltz and the non-descript Daphne Zuniga had been up to the task of overcoming the FX bombast on display (which they obviously weren't), the producers, writers and director weren't out to surpass the last episode in quality, as much as in the queaze quotient. Only Lee Richardson as Anton Bartok, the wicked, narrow-minded industrialist bent on exploiting the late Dr. Brundle's experiments to the max, does his job admirably well. You love to hate him on first sight, and the fact that he delivers the goods makes the gruesome fate his character suffers that much more satisfying.

So, in closing, let's sum up the main points here: for classic terror and the not-so classic follow up, go back to the Fifties original and its progeny. For modern-day mayhem and mounds of moldering makeup effects, go to the creepy Cronenberg version, then do not pass go, skip lunch and try this ordeal of offal on for size. You will be grossed-out, guaranteed, and popcorn is definitely optional, skipping the extra butter, of course.

Seth Brundle's offspring, Martin, is born and begins his life in a controlled lab environment at Bartok Industries. He grows at an accelerated rate both physically and intellectually. After seeing some of the ruthless ethic that the company has towards its experiments and the length they go for results Martin goes on a rampage and escapes. Also, his mysterious and idling chromosomes start to become active and he begins to mutate. First he has better strength and speed and soon he turns into a monster.

Much of the visceral symbols and themes from David Cronenberg's film are lost at the expense of gore and special effects, but parts of this obviously inferior film are nonetheless engaging. The character's motivation is clear, the atmosphere is pretty defined, and the film's last act is pretty exciting. Featuring some good gore effects and a ruthless act of revenge against an evil character ultimately make this film more satisfying than its reputation would suggest. 5/10

Rated R for violence, gore/gruesome images, and a sex scene

I'm going to talk about 1986's 'original' 'The Fly' movie like it wasn't a remake. Believe it or not there was a time when horror movies were remade and still actually quite good without the overriding motive being a shameless cash-grab. It had pretty much everything you could ever want from a horror film - a great cast, memorable characters, a top-notch director and, of course, plenty of gore. It's success meant that a sequel was inevitable. But did it live up to the original? Does it ever.

'The Fly II' is nowhere near as good as it's predecessor, but don't take that as too harsh criticism - it's actually pretty good. For a sequel. And a horror sequel at that.

One major plus point is that it really does feel like a continuation of the story. Sadly Geena Davis doesn't reprise her role and Jeff Goldblum is only on screen for a few moments via the use of a video diary made during the first film. John Getz does return which aids the feeling of continuity and is as watchable as he was the first time round. As explored in the original film, an amazing scientist who created the means for teleportation fathered a child while he was semi-fused with an average house fly. Now the sinister corporation who financed the who project wants their returns on their investment - in the form of Seth's child.

Eric Stoltz plays Martin Brundle, who grows from a baby to eighteen in only five years. It's about that time that he starts to go through various 'changes' which are more than just hairs growing in intimate places and a deeper voice.

The plot - sort of - goes over old ground where we witness a man change into something horrible while trying to juggle a romantic relationship. However, despite its lack of freshness, it's just so damn watchable. It's one of those films where you can probably predict everything that's going to happen (and you won't be wrong!), but it doesn't really matter. It's just a fun little jaunt that has some pretty good creature effects in the second act.

No, it will never be as good as the original and I dare say that many who watched the Goldblum/Davis/Cronenberg outing may not even know it spawned a sequel. But if you're looking for a rare follow-up that doesn't detract from the original in any way and does its best to honour the spirit of what made the first film great, this one is a decent attempt.