Theorists have read the film as an allegory for addiction or a reaction to the Aids epidemic of the s, but The Fly is perhaps most eloquent in its depiction of the agonies of love and the crushing disintegration of a relationship. Not for the faint of heart or delicate of stomach , the film tells the story of a wealthy taxidermist who is left devastated by the death of his girlfriend at the voodoo-practicing hands of his maniacal housekeeper. Unfortunately, her return brings with it a newfound appetite for human flesh. As such, while previous incarnations of the count have positioned him as a saucy lothario, happy to neck whatever young beauty might cross his path, Coppola has him as a hopeless romantic, driven by his heart rather than his fangs, and forever yearning for the love he once lost. Although the basic premise is far-fetched, what makes the film so refreshing is the interaction between the diminutive lovers; like any regular couple they share similar hobbies and interests, they bicker and make up, and in one truly eye-popping scene, they even have sex. Now released, the mummy is free to pursue a young woman he believes to be the reincarnation of his long-lost love, Princess Anck-es-en-Amon. While Stoker made no reference to a history between the pair, the film has Mina as the reincarnation of his dead wife Elisabeta. So rarely has romantic yearning and carnal attraction been rendered with such ferocity and frenzied immediacy. Part love story, part revenge thriller, with a dash of slasher thrown in for good measure, Red, White and Blue may appear an unrelentingly bleak piece of work, but it is one that never stops believing in the redemptive powers of love, and hides a huge heart that beats beneath its brutal surface. Our killer this time is Daniel Robitaille, better known as Candyman, the son of a slave who was executed for impregnating a wealthy white woman during the American civil war. Her life seems to take a positive turn when she befriends a sociopathic army vet named Nate, but a series of tragic events soon end in destruction and violence. Repeatedly banned and censored since release, this is a sleazy and often downright nasty piece of work, which despite the viscera on screen, is also a highly affecting study of deranged and unruly love. But when an experiment goes horribly wrong, Seth begins a monstrous transformation which Veronica is powerless to stop. Years later, Candyman has become the stuff of urban legend, a hook-handed killer who supposedly appears if you repeat his name in a mirror. And among all this is Candyman himself, an endlessly tragic figure who was destroyed by love, and will stop at nothing to find it again. Perhaps more fittingly described as a supernatural suspense drama rather than an out-and-out horror film, Mahal is a work of exquisite beauty, its unhurried approach allowing us to wallow in the ethereal elegance of its central romance and haunting melodies of its celebrated songs.