Lily is a sheltered art student from Michigan going to school in California. She finds an apartment and her roommates aren't quite normal. One day she finds a box of items belonging to a ... See full summary »
When a 'Single White Female' places an ad in the press for a similar woman to rent a room (to replace the boyfriend she's just left), all the applicants seem weird. Then along comes a level... See full summary »
Jennifer Jason Leigh,
When Nicole met David; handsome, charming, affectionate, he was everything. It seemed perfect, but soon she sees that David has a darker side. And his adoration turns to obsession, their dream into a nightmare, and her love into fear.
Ivy ('Drew Barrymore'), a sexy teen who lives with her aunt, moves in with a reclusive teen (Gilbert) and slowly works her way into the lives of her adopted family. The mother (Ladd) is sickly and can't sexually satisfy her husband (Skerritt) any more, and to the daughter's horror, Ivy begins seducing her father. Written by
Ed Sutton <firstname.lastname@example.org>
The Character of Ivy was originally written to live at the end of the film. The script had Ivy leave the Coopers home at the end and go hitch-hiking. It was only when New Line Cinema told Director, Katt Shea, that they wanted Drew Barrymore's character to die, that she had to go back and film the ending once all the other shooting had finished. See more »
In the scene where Sylvie breaks the espresso machine, spilling coffee grounds on the floor; the maid, Iris, uses the vacuum to clean it up. We hear a vacuum sound effect, and the camera focuses on the machine but the vacuum is clearly not turned on because the vacuum bag does not inflate. See more »
She's definitely a turnoff - too overt. I mean, most girls don't fly through the air with their skirt around their waist.
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Nabokov's Lolita used the affections of a fawning, elderly man (her stepfather) for her own purposes--which never amounted to much more than sex and cash. It only figures that today's Lolita would be dressed to kill, literally. As Drew Barrymore plays her here, she's a sexy homicidal figure with maternal delusions. "Poison Ivy" begins rather endearingly, with high school outcast Sara Gilbert (looking like the modern equivalent of a teen beatnik) befriended by a striking blonde student with lots o' leg and a fake tattoo. This wanton woman-child has no name; Gilbert calls her "Ivy" and Barrymore likes that ("It gives me the opportunity to start over," she says). The tone of the picture shifts however before the midway point, with Ivy infiltrating Gilbert's dysfunctional household and seducing dad Tom Skerritt (doing terrific work). Gilbert's narration--and the surreal jumble which becomes the hectic climax--is rather off-putting, but there's a great deal of worth in Barrymore's solid performance. The film is stylish on a low-budget and is actually steamier than "Nine 1/2 Weeks". Yet, it's really two different pictures struggling within the context of one. A stronger screenplay might've brought the two halves together, although, as the director, Katt Shea Ruben manages to come up with a commendable amount of incidents both amusing and titillating. ** from ****
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