The original movie, The Fly, was a lovely little horror film. Was it great? No, but it was effective and fun to watch. Did it need to be remade? Possibly, but only if the integrity of the original story remained and it was given better special effects. BUT, NOT LIKE THIS!! Gone is the silly fun of the original. In its place is a viscerally disturbing (nauseating actually) mess with a rather mean spirit. It's simply unfun and unappealing.

You don't believe me? Well, look at the sick makeup job on Jeff Goldbloom. Accident victims are easier to look at for extended periods. And, the ultimate gross-out of having him vomit up white slime on people in order to digest them!!! What were they thinking? If they want to gross us out so much, why not go on a tour of the morgue and film that!? It would be as gross and as pointless.

Have a lot of admiration and appreciation for David Cronenberg. His films are technically very well made and while his films are very disturbing a good deal of his films also have either a dark or subtle wit, poignant emotion or even both. He is for me one of the most interesting and unlike any other out there directors, despite being known for body horror and originating it his films are much more than that.

Like what was said for 'Dead Ringers', one of my favourites of his, all this couldn't be more apparent in 'The Fly' and actually even more so. Despite really liking the 1958 version of 'The Fly', count me in, having seen this film since watching that, as somebody who considers this remake superior by quite some way and by far one of the remakes ever made. This is a rarity when it comes to remakes, with a lot of which deservedly held in low regard and considered as pointless. Yet 'The Fly' feels much more than a remake, one would not know it was one really. It is also a fabulous film on its own merits, a landmark of its genre and one of Cronenberg's best, still is his most acclaimed critically, for sure from personal opinion. Some may not be able to get past the gore, of which there is aplenty and it does churn the stomach, but it was not a problem for me now and do feel one is missing out if not able to get past.

'The Fly' still looks great. Cronenberg's films are seldom less than well made, he always is a very technically accomplished director and 'The Fly' is one of his best looking. Very accomplished and showing a mastery of visuals and effects, with some truly atmospheric, remarkably elegant and clever photography (if not as complex as that for 'Dead Ringers' for example). The special/make-up effects are not just pretty darn impressive, they made me go wow, a technical achievement back then and they hold up extemely well now. Why else would 'The Fly' hold the distinction of being the only Cronenberg to win an Oscar, which was for the makeup (richly deserved, though certainly would have had no problem with 'Legend' winning as the makeup was also amazing in that film)?

Cronenberg regular Howard Shore, the director's "composer of choice" even, provides one of his best scores, which is like its own character and like a character of its own in the film. It is very haunting without being obvious, but what is especially memorable about the score is how it makes something beautiful out of the visual intensity going on, without ever being at odds, and how it goes for the emotional core of the story as well. The orchestration is also some of his biggest and most complex, brought to vivid life by the London Philharmonic, a prime example of this is the opening which has always left a big emotional impact on me.

Some of Cronenberg's best directing can be seen in 'The Fly'. The atmosphere is unnerving in unmistakable Cronenberg style with nail-biting tension to boot. There is a lot of gore and it churns the stomach, but to me the film wasn't too over-reliant on it and didn't use it gratuitously. Even more impressively, as well as being a visual master, he achieves a balance of horror mixed with tense thrills, humour and emotion. The script has delicious dark wit, provokes thought and truly heartfelt and never cloying emotion, not many films achieve this balance so well and Cronenberg was one of the masters at this. The storytelling is some of the most disturbing of any Cronenberg film and of any film, but 'The Fly' is also the film of his that connected with me emotionally the most. The tragedy of the story is truly poignant stuff, and it is genuine, not forced or manipulative.

Not many films of this genre have had me really caring for the characters, and again in a way that was genuine. 'The Fly' did this and is an example to all film, the characters here have depth and well-defined and distinct personalities and character traits and not once did they bore or irritate me. The acting is terrific, as good as Geena Davis is, and she is extremely good, Jeff Goldblum is pretty extraordinary in a very unsettling and sensitive portrayal that disturbed and moved me. Goldblum is always worth watching but he in my mind has never been better than here, one of the best performances in a Cronenberg film.

Altogether, fabulous and one of Cronenberg's best as well as a genre landmark. 10/10

One of the genre's most famous taglines ("Be afraid...be very afraid") adorns David Cronenberg's masterpiece of psychological and physical horror, in turns surprisingly gory and surprisingly intelligent, yet sorely underrated by audiences at the time. Cronenberg had already made a name for himself by the time this was released, for his above average horror films like VIDEODROME, all of course as controversial as CRASH was ten years later.

This isn't just another run-of-the-mill gut churner, however; it's much, much more. In parts a tragic love story and with a vicious streak of black humour, THE FLY actually turned out to be a remake which was better than the original film, which was no mean feat when 1957's THE FLY was a classic sci-fi horror flick boasting star names like Vincent Price. Thankfully, everything about Cronenberg's film works, from the fine acting to the gruesome special effects, but these are just icing on the cake. The real genius lies in the decision to have Brundle slowly disintegrate into a fly, instead of a straight conversion in the matter transporter. The idea that the fusion takes place as a mysterious, horrible, cancer-like illness is much more sickening, chilling and believable than the straight forward man with rubber fly head shown thirty years earlier.

Not many actors could have convincingly pulled off such a complex role, but Jeff Goldblum succeeds admirably in what I feel to be his finest role ever. Goldblum plays his typically weird but likable character, yet convinces us with his stunning realisation that he is becoming something other than man - at first hyperactive and excited, then horrified, and finally struggling to keep his sanity and his mind as the fly's influence becomes ever stronger. Geena Davis also excels as the tough, resourceful female lead, inexorably caught up in the horrific chain of events. Her fleshed-out portrayal is what the countless slashers of the '80s really needed. John Getz lends good support as a seedy yet kind magazine publisher, whom Davis turns to in her time of need.

Add to this formula a good score, lots of clever hi-tech (well, for the mid '80s) computer gimmickry and some clever scenes showing Goldblum's transformation (the gymnastics and the horrible fingernail-pulling bit in the bathroom),this film would have been a success any way you looked at it. But Cronenberg decided to add in some really horrific gore and special effects, which alienated a lot of audiences. The worst bits are when Goldblum has to regurgitate his food to digest, cue lots of vomiting in THE EXORCIST tradition. There are some bloody moments, like the infamous arm-wrestling, too. However, aside from all this, there is one true reason why I knew this film had succeeded. Yes, I did indeed shed a tear or two at the end of the film, which is truly moving, and heart wrenching. A poorly conceived sequel was churned out a couple of years later by the man who did the special effects in this, Chris Walas. Not surprisingly, it didn't reach this kind of level.