The plot device is so damned great that it simply had to be revisited: a scientist invents a device that transmits matter by disintegrating it in one chamber and reintegrating it in another. When he attempts to transmit his own body, he accidentally allows a fly into the chamber, and the resulting man-insect hybrid runs rampant across the Canadian countryside. Philippe, the son of that ill-fated scientist, is told the family history by a benevolent uncle (an oddly prim Vincent Price); possessed with the scientific will-to-know, he becomes determined to re-create his father's experiments. The legendarily silly costuming of the original Fly returns, and with it, the perplexing logic of transmogrification--it becomes difficult to decipher which of the man-insect hybrids we're meant to understand as possessing Phillipe's agency. The film is hampered by the lack of a strong female lead, and by performances by all principals that are disappointingly modern in their clear motivation and restraint. Almost normal--even by modern standards--Return of the Fly represents an interesting bridging piece between the arty, abstract, symbolist sci-fi aesthetic of the early '50s and the naturalist, highly mimetic, realist style that quickly came to dominate the genre. --Miles Bethany