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 »
After a mysterious death of a young college student occurs late one night at a prestigious New England college, Danielle "Daisy" Brooks nevertheless decides to escape her small town life ... See full summary »
Monsieur Cinema, a hundred years old, lives alone in a large villa. His memories fade away, so he engages a young woman to tell him stories about all the movies ever made. Also a line of ... See full summary »
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 <email@example.com>
The original script was titled, 'Fast Lane'. The title was changed shortly after filming began. 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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