Buy it... if you want a safe, gloriously harmonic starting point from which to explore Christopher Young's extensive work in the horror genre.

Avoid it... if you expect either a continuation of Howard Shore's constructs from The Fly or an abundance the truly challenging dissonance more typical to the genre.

Young

The Fly II: (Christopher Young) So lame was the production of the sequel to the hit 1986 horror film The Fly that the crew and most of the cast begged out or weren't invited back for budgetary reasons. The 1989 continuation of David Cronenberg's grotesque but tragically appealing reinvention of the classic concept was shameless in nearly every regard. Geena Davis did not return to give birth to the hybrid nemesis in this picture and special effects guru Chris Walas helmed the lifeless, more conventional horror formula. Despite the many connections to the previous film, The Fly II is simply an excuse to see the son of Jeff Goldblum's unfortunate character grow up prematurely because of his partial housefly DNA and become, not surprisingly, a maniacal killer. Box office success was not destined for The Fly II, and the majority of people inflicted with it many years later are only familiar with it because of a common packaging of the two films together on DVD. One of the few genuinely redeeming aspects of The Fly II was its score by rising composer Christopher Young, whose career was already well on the way to being defined by such trashy horror flicks. At the time, Young was wary of the fact that his destiny seemed attached to these absolutely wretched productions, though he has always countered by reaffirming his attraction to the genre and the opportunity that it gives him to unleash the kind of orchestral force not allowed in most other kinds of films. This particular assignment followed his first two Hellraiser scores, the latter one a modern classic in the genre with its incredibly massive size. Young was also following a highly respected score written by Howard Shore for The Fly, one that directly addressed the melodramatic tragedy of the story with a distinctly operatic tone. Young apparently decided not to incorporate any of Shore's primary ideas from The Fly into the sequel, despite the fact that footage of Goldblum and other story elements directly carry over. On the other hand, Young does avail himself of Shore's tone, taking the harmonious aspects of the previous composer's drama and extending them into a fantasy realm that allows for far more fluid presentations. In fact, if Shore's score is best described as morbid, then Young's could oddly be termed beautiful. There is still a heavy sense of oppressive weight to the tone of Young's score, but it has a sense of wonderment that makes it much more accessible. For many, The Fly II will be the most advisable starting point from which to explore the composer's lengthy success in the horror genre.

In one of the surprise highlights of Young's career, The Fly II merges the best instrumentation and expansive harmonics from Hellraiser II with a simmering fantasy atmosphere that would be revisited in Species. The broad, brass title theme, heard best in "The Fly II" and "Fly Variations," is a direct holdover in style from the Hellraiser series, staunchly menacing and yet so grandiose in its posture that it's strangely heroic in a twisted way. Secondary phrases on strings would directly inform Species (the cue "Dad" is a frightfully accurate foreshadowing of the later score), and it is in these extended, ponderous explorations on purely harmonic strings that Young provides significant beauty in the score. Whimsical tones in "Come Fly With Me," the second half of "Fly Variations," "Bay 17 Mysteries," and "Dad" offer ten of the most lovely minutes of music Young has every produced. The solo performances of the title theme in "Fly Variations" (on violin) and "Bay 17 Mysteries" (on horn) are remarkably effective. Related material sometimes dances into almost perverse optimism, with "The Spider and the Fly" using a slight waltz rhythm to achieve deviousness that Danny Elfman might have employed at the time. The xylophone in "Dad" achieves the same effect to a lesser degree. The straight horror cues, led by the ensemble dissonance of "Musica Domestica Metastasis" and "More is Coming," use wailing, off-pitch brass to suggest the amplification of an insect's buzzing. Key to the success of The Fly II is Young's instrumental choices. The familiar employment of driving, low brass on key during thematic statements is effective, though more important is the application of high woodwinds and percussion to give the recording truly dynamic scope. In several of the cues, Young once again utilizes the accelerated tapping of a cymbal to highlight measures with spine-tingling precision. Having slightly less of an impact is the delicately-utilized triangle. You have to love the shrieking flute blasts atop the major thematic performances; the trumpets attempt the same, but some irritating flubs in their ranks are a disappointment (both can be heard in "What's The Magic Word?"). The recording is provided a slightly wet mix, enhancing the fantasy aspect (and especially the tapped cymbals). Ultimately, though, it's the absolutely massive, minor-key harmony built in to almost all of the ensemble performances in The Fly II that makes it a pleasure to revisit every Halloween night. If only Young had cleverly employed Shore's thematic material, this would be a rare five-star score in the genre. A re-issue of a 1989 Varèse Sarabande album along with Shore's score in 2005 makes the latter 2-CD set a very easy recommendation. The sound quality on Young's score, despite remastering for the 2005 album, is about the same on both products. Worlds could be enslaved to this title theme! ****   Amazon.com Price Hunt: CD or Download

Bias Check:

For Christopher Young reviews at Filmtracks, the average editorial rating is 3.3 (in 23 reviews) and the average viewer rating is 2.99 (in 7,951 votes). The maximum rating is 5 stars.