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* AngstAversion: This is one of David Cronenberg's most accessible films along with ''Film/TheDeadZone'', and in fact his most popular, due in part to having genuinely sympathetic characters. Even so, many viewers then and now find its extreme BodyHorror and the ultimately tragic demise of its protagonist too much to take. This was why none of the epilogues tested well, as Cronenberg discusses in the book ''Cronenberg on Cronenberg'' -- the denouement was so devastating that audiences couldn't ''accept'' a hopeful coda.
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* AngstAversion: This is one of David Cronenberg's most accessible films along with ''Film/TheDeadZone'', and in fact his most popular, due in part to having genuinely sympathetic characters. Even so, many viewers then and now find its extreme BodyHorror the sheer amount of trauma Seth undergoes, both [[BodyHorror physically]] and the [[SanitySlippage psychologically]], and his ultimately tragic demise of its protagonist too much to take. This was why none of the epilogues tested well, as Cronenberg discusses in the book ''Cronenberg on Cronenberg'' -- the denouement was so devastating that audiences couldn't ''accept'' a hopeful coda.
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* SugarWiki/AwesomeMusic: Where there is Cronenberg, there is usually Music/HowardShore, and where there is Shore, there is this trope. The standout cues are the menacing "Plasma Pool" (Seth's rant to Veronica about "fear of the flesh") and the mournful "The Last Visit" (the "insect politics" monologue), both of which are reprised to wrenching effect in the denouement.
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* SugarWiki/AwesomeMusic: SugarWiki/AwesomeMusic:
** Where there is Cronenberg, there is usually Music/HowardShore, and where there is Shore, there is this trope. The standout cues are the menacing "Plasma Pool" (Seth's rant to Veronica about "fear of the flesh") and the mournful "The Last Visit" (the "insect politics" monologue), both of which are reprised to wrenching effect in the denouement.
** Where there is Cronenberg, there is usually Music/HowardShore, and where there is Shore, there is this trope. The standout cues are the menacing "Plasma Pool" (Seth's rant to Veronica about "fear of the flesh") and the mournful "The Last Visit" (the "insect politics" monologue), both of which are reprised to wrenching effect in the denouement.
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* EveryoneIsJesusInPurgatory: [[http://1000misspenthours.com/reviews/reviewse-g/fly1986.htm 1000 Misspent Hours]] makes a pretty solid case for Cronenberg's film being an allegory for HIV infection in the 1980s, following on from many critics at the time drawing such conclusions. WordOfGod doesn't deny this theory but intended the story as a metaphor for not just any terminal disease but the aging process in general.
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* EveryoneIsJesusInPurgatory: EveryoneIsJesusInPurgatory:
** [[http://1000misspenthours.com/reviews/reviewse-g/fly1986.htm 1000 Misspent Hours]] makes a pretty solid case for Cronenberg's film being an allegory for HIV infection in the 1980s, following on from many critics at the time drawing such conclusions. WordOfGod doesn't deny this theory but intended the story as a metaphor for not just any terminal disease but the aging process in general.
** [[http://1000misspenthours.com/reviews/reviewse-g/fly1986.htm 1000 Misspent Hours]] makes a pretty solid case for Cronenberg's film being an allegory for HIV infection in the 1980s, following on from many critics at the time drawing such conclusions. WordOfGod doesn't deny this theory but intended the story as a metaphor for not just any terminal disease but the aging process in general.
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* UnintentionalPeriodPiece: Downplayed. While there's a lot aesthetically marking it as a 1980s film -- video cameras (Beta ones at that), audio and video cassettes, EightiesHair, Veronica and Stathis both being smokers, etc. -- the plot wouldn't have to be changed all that much to incorporate modern technology, or even changes in journalism (i.e. the rise of online media over print). Steven Benedict's podcast suggests that the '''reviews''' from 1986-87 have become this because so many critics interpreted the film as a metaphor for the AIDS crisis or illicit drug addiction, rather than the general metaphor for aging and death that Cronenberg intended.
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* UnintentionalPeriodPiece: Downplayed. While there's a lot aesthetically marking it as a 1980s film -- video cameras (Beta ones at that), audio and video cassettes, EightiesHair, Veronica and Stathis both being smokers, etc. -- the plot wouldn't have to be changed all that much to incorporate modern technology, or even changes in journalism (i.e. the rise of online media over print). Steven Benedict's podcast suggests that the '''reviews''' from 1986-87 have become this because so many critics interpreted the film as a metaphor for the AIDS crisis or illicit drug addiction, rather than the general metaphor for aging and death that Cronenberg intended.
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* AngstAversion: This is one of David Cronenberg's most accessible films along with ''Film/TheDeadZone'', and in fact his most popular, due in part to having genuinely sympathetic characters. Even so, many viewers then and now find its extreme BodyHorror and the ultimately tragic demise of its protagonist too much to take. This was why none of the epilogues tested well, as Cronenberg discusses in the book ''Cronenberg on Cronenberg'' -- the denouement was so devastating that audiences couldn't ''accept'' a hopeful coda.
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** “Brundlefly” has become a term for any JustForFun/XMeetsY setup, especially when they don’t turn out well.
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** “Brundlefly” has become a term for any JustForFun/XMeetsY setup, especially when they don’t turn out well.well, often in the form "Like if X and Y ended up in the Brundlefly machine".
