A Maldição da Mosca é a terceira parte da série de ficção científica que começou com o clássico "A Mosca". A história gira em torno da família Delambre, mas desta vez com o filho do primeiro cientista, Henri Delambre (Brian Donlevy), que fica obcecado com as experiências de teletransporte e causa receio em seus dois filhos, que querem viver uma vida normal e esquecer a invenção do avô. Martin (George Baker), filho mais velho de Henri, casa-se com uma jovem que acabou de sair de uma clínica para doentes mentais e Henri é contra esses casamento. Ele sabe que interesses externos podem prejudicar sua pesquisa científica. Quando a nova esposa de Martin descobre seres humanos mutilados em suas experiências de teletransporte, a polícia é chamada e Henri tenta escapar usando a própria invenção. Infelizmente, para o cientista louco, o teletransporte ainda tem defeitos não corrigidos.
"Henri" (Brian Donlevy) is a scientist obsessed with matter transportation. He's got all sorts of gadgets in the basement of his rural home and his son "Martin" (George Baker) to help out. Thing is, his son has already had a bad experience with all of this mad science, and now remarried to "Patricia" (Carole Grey) he wants out. Fat chance thinks his dad - think of your grandad who concocted all of this up in the first place. Also, well think of the previous experiments that are currently occupying some locked rooms elsewhere on the property - and of one occupant in particular. "Patricia" - that's "Patreeshia" to the uninitiated, has an habit of exploring and when she discovers a little too much she begins to question her own sanity. Can she believe what she sees? Husband and father-in-law both tell her she's imagining things. Then the police show up looking for a missing woman. Who is she? Why are they looking there? As the net begins to close in, perhaps it's the teleport than can get them to safety and new lives? Hmmm. Neither Donlevy nor Baker carry this stodgy and over-scripted effort at all well and though there's quite a creepy effort from Yvette Rees, the rest of this is all pretty lacklustre fayre that is dragged out for at least half an hour too long. What visual effects there are are straight from the papier-mâché and glue factory and the story is just too thin.
