Aug. 31, 2022

Midweek Mention... The Fly

Midweek Mention... The Fly

Wouldn't it have been fun to review THE FLY (1986) and also the 1958 original version? I guess we'll never know, having only found time to cast our critical eye at the DAVID CRONENBERG remake. 

There's no messing about as the movie immediately throws the two main characters together at some kind of nerd convention. I'm a fan immediately getting on with the story and not wasting precious time with wearisome world building. We've got a podcast to make and efficient story telling such as this is a boon to people like us!

I suppose the real test of a famous body horror movie from the 1980's is whether the visuals still hold up. Reegs and Sidey certainly think so. Let us know what you think of THE FLY on any of our social channels.  


The Fly

Sidey: Briggs you've nominated. I guess we can say a horror movie for us to watch.

Reegs: Yeah. The fly.

Sidey: Yeah. 1986 version. Not the fifties one.

Reegs: No,

Sidey: I've never seen

Reegs: no, I haven't. Actually I have, they used to run it on. Channel four. I do remember seeing it as a kid.

Sidey: Probably just funny now.

Reegs: Yeah.

It's very vague memories of it. But this one, I had seen her a few times and it's part of a sort of vague insect themed week.

Sidey: Yeah. I, so I watched it with the misses. Yeah. And it was her first time. Okay. I'm fairly sad. I didn't actually ask her, but I could tell by the reactions and not knowing what was about to happen.

That yeah, it was, it was her first time, but yeah, I'd seen it before, although a good few years since I'd last seen it. So

Reegs: was she familiar with David Cronenberg's

Sidey: No, I don't. Probably the only Kronenberg film she would've seen. I, I couldn't say that with a hundred percent certainty, but like 95, I think

Reegs: I don't have where this is in his Irv, but this was 1986. Wasn't it? It's probably.

Sidey: I think he'd done a, a good few movies by now. Cuz they raised a few million queer to get this made. Yeah, we can come onto that later on. The film opens there's no like preamble or. Messing about it's straight

Reegs: straight in.

Sidey: He is just chatting to Gina Davis at some sort of event.

Reegs: Yeah, he's working on something that will change the world, but he can't reveal it here with all the other scientists.

So why don't you come back to my place? And see my big coffee machine to see what I'm doing is basically the conversation. Yeah. And she does actually just walk off to be fair.

Sidey: Yeah. She's not having it initially, but he's So they got this kind of eighties look and I'm, he's like quite in the cultural zeitgeist at the moment.

Jeff Goldblum, super stylish dude. You know, he does like runway stuff for Prada and everything. He's always like really decked out in stylish clubber, but here he's got like the kind of eighties, dude. He's kind of awkwardly look, I mean, he's supposed to be playing a scientist. Yes. Slash engineer. So he's got that look going on and she's got the eighties hair and bit Sarah Conna vibe going on with her look.


Reegs: Were they a real couple in real life

Sidey: Oh, I dunno. Let's say yes.

Reegs: There seems quite a lot of chemistry between them is what I would say.

Sidey: Yeah.

Reegs: Anyway, yeah. So he's the scientist, she's the journalist he's just

Sidey: doesn't know that.

Reegs: No, he doesn't. He's just asked her to come home with him to see his big coffee machine and she's walked off and discussed, but he goes after he insists, he truly is working on something special.

So she does go with him and they drive back to his place. He gets car sick on the way, which. Be part of the thematic drive of what he's doing. And his place is a sketchy looking building and an industrial area, the exact sort of place that a serial killer would hang out

Sidey: or.

A sort of place that's gonna become super trendy and gentrified

Reegs: Yeah. yeah.

Sidey: of moments.

Reegs: Yeah. And they go up and it is this big warehouse and it's like all in there and machines and whatnot, and he plays piano to make her comfortable. Doesn't he? And then she sees these crazy looking black objects designer, phone boxes.

Sidey: Yeah. And this is where I could tell it had been a long time. I had seen it cause I was immediately thinking like, how has he just built that stuff in his loft?

Do you know what I mean? It's just, no, it's not feasible that, you know, this is the part where I'm thinking it's not believable that, you know, a guy would just be able to create this stuff out of thin air. And then he literally goes into detail about how he's been able to do that. Like, oh, I forgot all that, that, that detail.

Reegs: Yeah. Yeah.

Sidey: But he explains that he.

Reegs: He's got TelePod. He tells him,

Sidey: And he does that, but in explaining it, he says, I basically I'm like the ideas man, or the sort of engineer. I just say to someone that's way smarter than me. I need you to make me a laser thing in a jig or a

Reegs: yeah.

I still don't think that really explains it to be completely

Sidey: just a bit of whitewashing plot device, you know? Yeah. Yeah.

Reegs: And he's funded by somebody and they just like, they just fund him enough to

Sidey: he's cheap. So they don't ask too many questions. Yeah.

Reegs: Yeah. So he is made these tele pods and we get a demo of them. He, he asks for something uniquely personal of her as an item of jewelry or something.

She takes one of her tights off.

Sidey: Yes. Because she doesn't have any jewelry. Yeah. And she says, after the demo, she said, I'm glad I didn't give you my Rolex. I don't have a Rolex. Why have you said that then? Yeah. But yeah, it's quite sexy when she takes us stock off

Reegs: the computer works through voice activation, doesn't it? Any

Sidey: quite ahead of its time password to it.

Reegs: Yeah. And the machine powers it up and analyze it and the, and the object disappears and she doesn't get it at first that it's reappeared and now, and then she can't believe it. And then he explains that it's been disintegrated and then reintegrated there, which I think is quite a cool thing, cuz it means it's not the same one in my.

Sidey: Really?

Reegs: Yeah. I've always thought this

Sidey: about, oh, rep. So it's replicating

Reegs: if it's disintegrating and then reintegrating, I think that is something new

Sidey: Well, I think it depends on your interpretation to disintegrate. Cause if, if you, if you're thinking of disintegrating as being, so it's learning what those component parts are and then destroying them and then re recreating something new then.

Yes, I think, but if, I think it's, I think my interpretation of this in the film as it is just taking them down to some sort of Al level yeah. Shooting them through those cable. And re cables and rebuilding them because maybe shotgun's the cable at the end.

Reegs: Oh, I didn't think about, yeah, of course.


Sidey: crucial anyway, to

Reegs: well, philosophically I think is important to know whether it is teleportation or if it is actually just sort of reincarnation

Sidey: true. Yeah.

Reegs: Anyway he, he, yeah, but he does say that he doesn't exactly know how it works. Doesn't he? And that's the bit that he were saying that he's financed by bar talk science industries, which will come into play and fly two.

Sidey: Which I've not seen.

Okay. Then she reveals, oh, this will make a great story. Or, and he's like, wait, no, what I wouldn't, I would never have told you if I'd known. I want my amazing invention to never see the light day.

Reegs: yeah, yeah. Yeah. Well, he says, he's like, oh, it can only move in animal objects.

We can't, I can't do it with life. And they're all. And he's like, oh, what could, you know, massive catastrophe that is just think of the massive implications for something that could instantaneously move things

Sidey: my shipping charges could come right down.

Reegs: Incredible. Absolutely incredible. But no, he, he wants, he waits until but anyway, yeah.

She, she

Sidey: takes the story.


Reegs: takes the story back to her boss at par. It's a big scoop for particle physics magazine and the boss thinks she's being conned by a magic trick. He

Sidey: I mean, it does seem, you know, like you've seen street magic like this done, you know, it's like a card appear somewhere else, but so it's easily

Yeah, exactly. And it's easily. You know, it's just a stocking it's you can bunch it up and just slight a hand and make it appear, summarize else where you've just been distracted, you know? Yeah. So it is obvious that the editor of the paper who's a bit of a stalker,

Reegs: sta is,

Sidey: yeah. It's not gonna buy it just from this cuz she tapes it with a, a little watcher.

Call it. Yeah. What they're called

Reegs: tape recorder. I mean.

Sidey: They have a name anyway, she does that. And so yeah, she expects him to buy this new revolutionary teleportation thing. Yeah. By a 32nd Dictaphone recording. There it is.

Reegs: Dictaphone. There you go.


Sidey: But he turns up because Seth Bruno, he rocks up, he's followed her.

Yeah. Or at least knows where she works and turns up to try and convince her to not sell the story and said, don't worry. He, he

Reegs: Well, it's more than that though, isn't it? Because he agrees to get to tell the story of this incredible, like you can report the discovery as it happens. And it's both like, and they're both into this, you know, documenting the discovery research in the background and covering the process of genius in the work.

And it's the pride, you know, both of them are proud and they're ambition and hubris. Back at Veronica's place. She, so after they've agreed to do that, she goes back to her place and we hear someone in the shower and that's played like a slash or horror

Sidey: Yeah. Yeah.

Reegs: is it? And it turns out to be John Gates, STAs, who is her boss and former

Sidey: Yes Definite love interest. Yeah. He's not over it clearly.

Reegs: No. And he's let himself in and had a shower and he, he. Oh, you didn't change the locks. Like that's a completely reasonable invitation yeah. Anyway. Yeah, he's done some digging into Broley with some sort of prodigy nearly won a Nobel prize at 20, so she knows that he's the real deal.

And then next up we see the horrible results of his experiments on live objects.

Sidey: Well, he's got access to baboons.

Reegs: Mm.

Sidey: Is that ever explained?

Reegs: Where you get baboons from?

Sidey: Where does he get specifically get baboons from?

Reegs: I could get you a baboon man. If you Dan would be the man to get us a baboon.

Sidey: Apparently the baboon was diff it was challenging on set.

Reegs: Okay.

All right. Well, they, they can be real dicks can't they? Aggressive

Sidey: a baboon

Reegs: Yeah. yeah. Yeah. And so yeah, they, he does put a baboon in there and um it is disintegrated and then this sort of bloody arm stump smacks the glass of the TelePod and leads this red smudge. And then this, this score is like shrieking and we see it's basically been sort of turned inside out and it's still alive.

Sidey: Yeah. Shrieking and screaming.

Reegs: What was he Mrs. Feeling? Was she enjoying this?

Sidey: but worse to come, much worse to come.

So it is, it's not ready.

Reegs: It's

Sidey: It'ss it's.

Reegs: no, not for, not for humans

Sidey: Not, no, no, not ready for Charles, but they have sex.

Reegs: Yeah.

Sidey: And it's really hot. They're quite romantic. And when he lies back after having sex, he has a brainwave about steak.

Yeah, because she had brought steaks over for tea. That's right. I'd imagine they lost their appetite after seeing the inside out baboon, but they it, well, he sort of taps away, I think, on the, on the keypad. Yeah. Does a few.

Reegs: things

talks to the computer

Sidey: whatever that he had thought of. And teleports steaks, which they then eat.

Reegs: Yeah. Where he cooks it. Doesn't he one that spin teleported and one that hasn't you

Sidey: it tastes a bit synthetic, but.

Reegs: It's horrible. It's inedible. Yeah, she, she spits it out. And he says something's getting lost in the translation. And so he, he starts like going off on that one about teaching it the beauty of the flesh.

And then he sits at his computer. Something involves him sitting at his computer for long hours.

Sidey: Yeah.

there was one bit where she leaves the apartment and drives off and STAs is waiting for literally like two meters away. Yeah. In his car. Yeah. With a particle cus you know personalized number plate.

Reegs: Yeah. yeah.

Sidey: would she never have seen him? Like she drives, he is just the, and they're the only two cars in this cuz they're in an abandoned warehouse sort of thing. And you're like, come on. Anyway.

Reegs: Yeah. And so sta is he follows her actually to she's. He knows now that she's onto something yeah. With what's going on and he confronts her in a clothes shop about their relationship.

And she says, I'm finally onto something big, huge. And he says, what is cock , which is a great line.

And she says, but she says, we're finished. I can do what I like. And it is actually strong. Like there's a load of cool stuff about the female character in this Veronica, in this movie. So this time he's done some whispering into the computer, and now there is a baboon and it's successful.

They successfully transport a baboon. And they, you know, they, they have champagne and the plan is to send a baboon for tests to make sure it really is okay. And they're gonna wait for that to happen. And they're gonna go off on holiday. It's this big romance while they wait for the test results.

Sidey: But Seth is worried about her relationship with her ex Bo and he gets pissed.

Reegs: Yeah.

Sidey: People make bad decisions. Yeah. When they've been drinking.

Reegs: And I really like that about this movie, that what kicks the plot into overdrive is just the result of like a misunderstanding, because she does really like him.

She's into what they're doing. She's just trying to get rid of Stathis. She, she describes, she says I have the residue of an old life. I need to scrape off my shoe. And so she that's how she feels about get, so she just knows that she needs closure on this thing before she can move on with Seth. But Seth gets drunk, fucks it all up.

Sidey: Teleports Himself.

Reegs: Yeah.

Sidey: And I dunno if you noticed, but a fly, it went into the other pod.

Reegs: Yeah. Yeah. I, I did see that.

Sidey: really loud. That fly yeah, they really went through it on the sound fit. And so the computer makes just a judgment call because it hasn't been programmed for this eventuality.

Reegs: Well, the computer just says at the end, for the first time, it says teleportation successful, which I guess is factually accurate, but mm

Sidey: well, it's set. It is bro. Fly the letter on that explains that it did a, a splicing rather than a yeah. Teleporting. I

Reegs: it's misleading from the computer is all I would say.

Sidey: Yeah. I mean, just make sure it's empty before you go through with it. Anyway, he doesn't realize this at first and he's almost naked. You need to see him in the

B Yeah,

just some tactical sort of squatting and cleverly

Reegs: Well she comes back doesn't she? And they confront over staffers, but she reassures him. And then it's where we have the sweet, sweet love. But now he's got the weird hairs

Sidey: already looking a bit Peaky.

Reegs: Yeah.

Sidey: He's quite sweaty. Yeah. He's got his face. Just a tiny bit blotchy. Yeah. And he's got this, but he'd already had this weird microchip injury in bed. Well, in food, on, yeah. In the first sexual encounter and that has now got these wire hairs protruding out of it.

So the body horror is starting to kick off. Yeah. Classic CRO bug stuff.

Reegs: Yeah, yeah, yeah, yeah.

Sidey: And at one point she does notice the hairs and she's like, oh my God, what is this? And she sort of prods them and he is like, get off it. You know, I'm just getting old, you know, and I've got the hairs appearing and she's like, and she starts to

Reegs: are like, but they're like wire

Sidey: cuts them off with some pretty full on scissors and it seems to hurt him.

Reegs: He also catches a fly, like superhumanly fast and lets it go.

Sidey: Yeah.

Reegs: When she goes to sleep and then when she comes out, she finds him demonstrating incredible new strength and agility. Does this sort of gymnastic show to her basically? Yeah.

Sidey: Yeah. Dan can do, Dan can do all that stuff.

Reegs: he's like running on the ceiling at one point, is he twelves

Sidey: Yeah he's doing sort of, I guess, muscle ups and all the, all the gymnastics stuff that you're seeing, like the, you know, the, the bars and the rings, those sort of things that only like the super elite athletes the strongest guys could do.

And he's. Overnight able to do it. Yeah. Also with a side order of incredible paranoia.

Reegs: Yes. Well, but first his senses are inflamed though.

He's like, he's really passionate and he feels he's been awoken,

Sidey: but she, she smells a rat. It's not, she's like, I think something might have gone awry because he's starting to change a little bit.

Reegs: Well, he goes into what becomes essentially the template for all Jeff Goldblum performances that happened after this, the kind of manic.

Yeah. And he's got that speech pattern and he's got a lot of errs that he says, and he repeats words or goes off on little

Sidey: flights Yeah that's true. Yeah.

Reegs: And it, and it's very much the proto performance that he, he, he carries on. Anyway,

Sidey: they do have a R. He starts shouting all these weird

Reegs: it's after shagging again.

Yeah. She, because he's been going for hours and he wants to keep going and she's like, I can't believe you've still got fluid left in your body.

Sidey: She says

Reegs: him,

Sidey: he, I can't remember all the things that he says to her, but it's like, you, you don't want to, you, you, first of all, it's just like, you're trying to change.

You're trying to stop me. You're jealous. And he tries to get her to go through.

And then it's like, you are trying, you're holding me back. Yeah. You're boring. And, and he starts launching into.

The sea of plasma plasma and stuff

Reegs: Yeah. He,

Sidey: whoa, where's this

Reegs: spring, yeah, the plasma spring. And he's rambling about humanity and the flesh and all that.

Yeah. And he score, he storms off around town. Doesn't he?

Sidey: And this is one of the first, like really iconic scenes that I think of when I think of this movies, it goes to the bar. Yeah. He's just like horrendous to this woman. All right. I'm gonna arm wrestle these two, like rednecks.

And if I win, you're coming home with me, she's like, I'm not a prostitute. Like whatever. Yeah. And the other guy's just like, well, yeah, I'll beat him anyway. So don't worry about it. And you know, she is just a piece of meat. Yeah. And it's where he snaps the guy's arm. And I was getting arm wrestling, injury flashbacks, cuz I had similar, although mom didn't break.

Bicep ruptured.

Reegs: You got a horrible, horrible scar

Sidey: scar on. Yeah, man. So don't arm wrestle kids. It's pretty wank. Yeah. But he does win. He snaps the guy's arm basically off and takes the girl it's quite rapey this bit.

Reegs: it? Yeah. Yeah. He like, he's really impatient. He pushes her back towards his room. He's acting all creepy.

He's carrying her in the end, the implication, because she says something about having a few drinks. So she's really intoxicated. She's getting undressed to fuck, but he's teleporting himself instead. Yeah. And then he wants sex immediately after teleporting, you know, sex in his work. Completely intertwined now.

And he tries to convince her to go through, but she doesn't want to. And he he's gonna force her in.

Sidey: Yeah. Yeah, he is. Yeah.

Reegs: And then Veronica comes back and stops it.

Sidey: I think she says I'm scared and he says, you don't have to be scared and name Veronica just appears and says, yes, you should be scared.

Yeah. Yeah, so pretty full on,

Reegs: pretty crazy. Now how it's like really amped up.

Sidey: Cause it got, I actually had to, like I had, I paused it to go and get a drink or something and I was about an hour in or 55 minutes. And then it is like, not that much longer to go. So it does escalates quite quickly. Yeah.

Not that any of it dragged. In any way, but I was just surprised when I looked like shit, I've got like about another half an hour. I thought 35 minutes to

Reegs: Yeah.

They pack a lot of yeah, the

Sidey: the third act, I'd say it's just like pretty crazy.

Reegs: So yeah, so Seth accuses, Veronica of being jealous, but she says that he's changing. Look at him, you know, and she's had the back hairs analyzed at a lab and the results were strange. They weren't human.

They were more like insect hairs. And then, you know he does look like a sick man and he punches the door and he turfs her out.

Sidey: Yeah.

Reegs: And then as she walks off crying, he looks at himself in the mirror and he starts trying to shave. And then he pulls one of his own fingernails off

Sidey: Yeah. and

Reegs: a load of puss onto the mirror.

And then he's like shocked at the realization that something is ho, horribly going wrong. Like, and he tries to work out what happened now.

Sidey: Yeah. He takes another finger out off and. It's it's obviously very painful.

He, then the next scene we see him, he's got gloves on, he's working at the

Reegs: Yeah

Sidey: to, trying to backtrack and figure out, and he

Reegs: He's reviewing the logs of

Sidey: He asks it to go through the logs logs of what's happened. And then we got some, some pretty snay eighties sort of line diagrams and it zooms in a bit closer and a bit closer and a bit closer.

And eventually you just get a picture of the fly and he thinks. Bugger

Reegs: Yeah. He does

Sidey: I fucked it. I've really fucked it.

Reegs: fusion of bundle and fly at the molecular level. Yeah.

Sidey: Yeah. So that would be difficult to hear. I would imagine. Yeah. Mm-hmm

Reegs: And then it's kind of four weeks have past and Seth calls Veronica and he tells her he, he was right. You know, she was right about everything.

He's gotten way worse. He's horrible. He's walking, using crutches. His skin is all

Sidey: lumping. Yeah. He says, I need to see you. I need your help. Can you come? Can you come over immediately? So she does. Yeah. And she, she walks in on him basically. Yeah. Using two walking sticks.

And like you say, he, he, he sort of compares it to like a cancer that he's got. Yeah. And that he's deteriorating very quickly and he needs our help.

Reegs: Yeah.

And he, yeah, he tells her what's happened. He, this is a bit where he pukes on his food before eating it.

Sidey: This that has been really freaked. I misses out. She hated that. Well, he does it. He does first PKE is just an accidental puke. Yeah. The next time it's when she's videoing him and she shows it back to her boss whoever his name was.


Reegs: Berthy

Sidey: He put, puts the tray of donuts. I think it was in front of him. And then he, and then he explains how a fly eats and exactly what it is that he's doing. But it's all you see that bit from the perspective of satis just looking at, oh, I'm being like repulsed by what he's seeing. Yeah.

Reegs: It's clever edited all that bit. Yeah. And then where then, you know, cuz she has, she goes back to see him and talk about it. And then Veronica goes back to the warehouse again, where Seth is crawling on the ceiling.

Sidey: He's but he's way more upbeat this time. He's like, no, no I've got it. I'm you know, it's all good because he's, he's in this halfway of actually being able to benefit in a way from the metsis.

So he's crawling around the walls and he's strong and he's, I dunno, not happy, but he's you. He's sort of embracing it for this brief moment.

Reegs: It is the really cool scene where he's, he walks around the whole set three walls of it, where they must have done it with the rotating set and choreographing his movements.

But he's now rambling about what the disease wants to turn him into something else. So he is sort of. Giving it a personality. And this is when he talks about bundle, fly. Yeah. This new thing. And he thinks he should be worth a Nobel prize. So he gets, he wants her to document what he is now. This is where he asks the computer, how he can make himself more human and less fly. And and basically the computer's like, alright, well, get another human in there. That'll.

So get yourself.

Sidey: But then I was thinking he, so at the moment he's presumably 50, 50.

Yeah. Surely if you get human, you're gonna be 75, 25. Aren't you? It's never like, there'll always be an element of you now.

Reegs: gonna be more human though.

More human than you were. That's basically the computer's rationale. If you wanna be more human, get in with another human and then more humans and more humans and more humans hideous. So it won't obey him anymore now though, the computer, cuz it no longer has bundle's voice.

And what, this is a bit where one of his teeth falls out and then he stores them as what he calls relics or artifacts in a medicine cabinet, which includes one of his own ears and his

Sidey: Yeah.

And we learned that Veronica's actually pregnant. Yeah. Which is gonna be quite dramatic for her . And there's a dream sequence that.

Imagine she pictures herself giving birth and

Reegs: it's horrific

Sidey: It's it's. This is one of the most horrific sequences in the movie and she's the pregnancy's not going well.

There's lots of screaming. And this doctor who is David Kronenberg is with gynecologist, trying to get this baby out. And it's just an enormous maggot yeah, like rigging around as it comes out is fucking grim. She's

Uh But she wakes up screaming as I'm sure is completely rational.

Reaction to that nightmare.

Reegs: And she says she wants an immediate

Sidey: Yeah.

Reegs: And she says, I don't want this thing in my body.

It's my body. And I, this was, I don't think I'd ever really realized what a strong abortion theme there was in this movie because this bit onwards. Becomes all about that.

Sidey: Especially present in this day and age. Exactly.

Reegs: Yeah.

Sidey: She tells staff this, no, make it happen tonight. I want it tonight. Get some, like, I'm thinking, what are you gonna do? Like some back street fucking,

Reegs: So now she has to turn to her ex lover. Yeah. To get him to arrange an immediate abortion at the hospital. Yeah. Cuz he has the power to do it. crazy. And as she waits for her procedure, Brundle fly crashes through the window and takes her and runs off back to his place. And he's saying to her, when he takes her back there, they're on the roof and he's saying he doesn't want the baby to die.

It's all that's left of him. He begs her to have it, but she doesn't want to, it's really heartbreaking stuff. And it's really well acted and she's too afraid. And then Stathis turns up at BR FLS house

Sidey: Well, he says

Well, he explains to her as well. He says, it'll be you in there, me in there. And they will emerge there with the baby three, like one like the perfect family, three of us in one body, like, Ooh, he gone completely fucking bananas.

Yeah. Yeah.

Reegs: Completely lost the plot now.

Sidey: And his metamorphosis is becoming more and more full on like.

Reegs: Yeah. Not it really ramps up in the very final bit which is coming up just as staff. This turns up with the shotgun

Oh, yeah, this is when Brun just drops from the ceiling right.

Onto him and then pukes acid onto him, which starts dissolving his like hand into a stump. Doesn't it just, and then his little bits of bone there

Sidey: then he does his leg. Yeah. So his ankle

Reegs: Severing his foot

Sidey: basically. Yeah. Yeah. It's pretty full.

The Mrs was sort of couch. She had, she got her laptop and just kind of put it in front of her face. So she, every now and then she'd look at like, okay, you can look,

Reegs: it's pretty brutal. Special effects.

Sidey: So BR does manage to get Veronica into one of the, what we calling them.

Reegs: TelePod TelePod

and this is when his face splits open.

Sidey: then he goes full fly.

Reegs: Yeah. It horrendous. His jaw falls off

Sidey: that's it. He grabs her and she swipes his face and his jaw falls off.

And it's still like naturally away on the floor.

Reegs: Yeah. and, and then his face splits open.

Sidey: He, he goes, he's stumbling. Like you see his legs transform. And then the rest of him and he turns it it's like brain dead. He's just goes full, fucking fly. And then he LOBs her into the tele

Reegs: yeah.

Into the TelePod and she's wearing all her clothes. So I was thinking that is gonna be really fucking weird when it comes out the other

Sidey: Yeah. I did think about that as

Reegs: But anyway, Stathis now eventually hauls himself to his feet or his foot, I guess. And Brundle fly gets into the other pod and he shoots the connection like you are saying to the first Telepo, he takes it out the teleportation and Brundlefly tries to get out the pod and it

Sidey: he smashes he's half in half out, isn't it?

Reegs: And he's like, yeah, exactly. He's half in half out and the machine dematerializes completely. And then it rematerializes in the other machine. Is this twisted lump of metal

Sidey: Yeah. He's half man. Half machine. Well, no, a third fly. Yeah. A third machine and a third thing, right? Yeah. It's, it's a mess.

Reegs: And he's like crawling to, towards her.

Sidey: He, his

Reegs: he's making these like horrible noises,

Sidey: his fly. Hook hand thing just grabs the butt. Yeah. At the end of the shot guy and, and lifted up to his head. Yeah. And she's like, no, I can't, I can't, I'm thinking you fucking can. You've gotta, you've gotta do it. Yeah. And the camera.

We see it from her point of view, no fucking hiding from it.

And she blasts him and his head just fucking explodes

Reegs: There's no sequel. he's not coming

Sidey: back. No, he's he's corner.

Reegs: And that is basically the end of the movie head blown apart and they all lived happily ever after. Not really,

Sidey: some PTSD going on.

Reegs: So, I mean, I really love this movie. It's got everything that's like really horrible about David Kronenberg, but it's actually got this really nice romance at its core. And it's like a story of misunderstanding. And then it's like full of metaphor as well. If you want about what you think the fly might be about, and then all the abortion stuff in it is so interesting.

Sidey: Yeah. I was gonna. To the misses, if she wasn't aware of it as like a love story between, you know, Jeff Golin and Jim Davis, which pretty much is, you know, that's, that is the crux of it just has some slightly upsetting kind of horrific moments in it as well. And I think that it still holds up visually. It doesn't look tired.

There's a few bits that potentially could like look a bit stupid now when he is jumping out the window or down from the top with her. But they, it still, I think holds up. Because it's practical. I think it just, that just looks better with age,

Reegs: but also just because it's such strong performances from Gina Davis is really good in this.

You know, Jeff, Goldblum's great in this. It's mostly in one location, pretty much in

Sidey: his, in the flat yeah.

Reegs: thing. And you know, it goes between other places as she sorts her life out his character arc from like, you know, harmless, but then powerful. And then monstrous is like a really classic. Character thing and, you know, it's loads of complex stuff woven throughout it.

Great performances. The abortion stuff is good. And you know, the puking is good as


Sidey: Yeah, that's great. The first name in, in the credits, which is quite unusual is Chris Wallace, who was the creator and designer of the brand of fly makeup. So they got him top billing and he did go on to win the Oscar that year

Reegs: Yeah, that's

Sidey: For the, for the makeup which is pretty cool.

Reegs: So this was a remake and a pretty successful remake. I guarantee if they tried to remake it, now it would finish with like bundle, fly, going on a rampage throughout New York, like

Sidey: shit

Reegs: up and.

Sidey: Mel Brooks is one of the producers.

I didn't know that.

Reegs: I didn't know that. No.

Sidey: And he tried to keep it secret. Cause he thought if people knew that his name was attached to it, they wouldn't get it. You know, think it would be expecting a comedy or something.

It's definitely not. Although it's kind of amusing yeah. Yeah.

I'm with you. I really like this thing. It's fucking great. Yeah. Budget for it was 15 mil.

Reegs: Yeah.

Sidey: It did win. I'll just tell you just over, just north of 60 mil,


it's decent for a horror movie. I think. I dunno what they generally do, but that seems like pretty decent return and it was a critical and everything hit.

Yeah. So that's a good news story. Isn't it?

Reegs: If you haven't seen this in a while, or if you haven't seen it at all, you should watch it.


Sidey: definitely worth going back. Yeah, definitely.