Poison

Rating:
Summary: Question
Review: It is rather a question, I don't know how to do it through another way.
Has the DVD subtitles in Spanish? I want my friends that can't understand English to see this movie. Thank you

Rating:
Summary: On the positive sides of things...
Review: It is sort of unsettling to me to see all of these negative reviews. But it is difficult not to take into consideration the fact that, yes, this film is not spectacular. However, it remains that "Poison," though difficult it seems for people to watch, is incredibly well done.

To begin with, the three stories do not have much to do with each other. Haynes took the three vignettes by Jean Genet and made them into a very experimental and passionate film. Those familiar with some of Haynes' other work (namely "Safe" and "Velvet Goldmine") should not find it difficult to catch common themes found in all of Haynes' movies. Freedom, sexual happiness, and a medium between the extreme and the sterile all pop up in Poison, like they did in the Haynes films which are predecessors to "Poison." The performances are all by no name actors who all give exceptional performances, pulling every ounce of pain and drive out of their characters. The extremity in the movie is hard not to respect because it touches on the issue of society's socalled "Freaks," all of who, we are reminded in "Poison," are simply other PEOPLE, like us. The film certainly works to acheive a point, although that point remains hazy on only one viewing, but what it comes down to is that "Poison" is a film about humanity and the neuroses specific individuals must live through. I commend Haynes incredibly for this film. It's just as good as his others. And that, I feel, is how it is.

Rating:
Summary: Complex and mature examination of human nature
Review: Three stories of alienation interweave in this youthfully made examination of genre. Each tale seems as if it would be interesting independent of this film, and other then their thread of alienation, which is a theme justifiably applied to most anything, they don't really seem like they belong together.

Yet this seemingly unnecessary compilation works as a cohesive whole, and the fragmented nature of the film actually increases positive aspects of story instead of overshadowing them. By including these stories together, each film conveys profundity that could otherwise be lost in individual features. The singular films would still be interesting, but separation might prove their totality to be a bit droll due to generally unchanging atmosphere, look, and mood.

This film is decent on all technical fronts; directing is great, acting appropriate and emotionally taut, editing well-timed and sometimes daring, and music well-executed. The two technical aspects that stand out in the film include the writing and the cinematography. The stories, based on a collection of Genet ideas, have been masterfully crafted into a relevant, current, and challenging collection by Haynes. Cinematography by Alberti during 'homo' is as crisp and as immaculately illuminated as possible, with beautifully cold yet inviting skin tones. Ellsworth is outstanding in 'horror', with smooth black and white, capturing the richness of both colors and each gray in between.

In each story, characters endure massive internal horrors while sometimes expressing them externally. 'Horror' balances melodrama, horror, and expressionism, 'hero' examines the effects of a murder in documentary style, and 'homo' analyzes and comments on the effects sexual dynamics in a prison setting. Each story exposes ramifications internal, societal, and physical in each character, making for a wholly intelligent film relevant in examining our humanity.

Rating:
Summary: Stylish to a fault, but missing emotional depth.
Review: Three stories, three styles, all with one common message screaming to be let out in the film "Poison," which is about as depraved a film as one can watch. The film is a monument to style over substance, a narrative that is as complex as it is maddening. Bold in vision and yet weak in its overall connection to the audience, the directorial effort of Todd Haynes is sumptuous yet left me parched for depth and understanding.

There is a common theme among the three disjointed stories, all of which have basically nothing to do with one another except their common message. There's "Hero," the documentary-style story of a family torn apart by one son's act of murder against his father; "Horror," the sci-fi spoof of a brilliant scientist out to tame the human hormonal system, only to ingest his own experiment and become the equivalent of Frankenstein's ghastly creation. And "Homo," the most subtle of the three, done in a welcomed mainstream style, explores the effects of homosexual lust and jealousy among the inmates of an early 20th century prison.

The message is everpresent through these stories, one that deals greatly with the differences in society, culture, and emotion. From the outcast child of "Hero" to the homosexuality that is the central focus of the prison drama, the script never fails in showing us the consequences of being different, as well as what becomes of those who capitalize on those differences. This makes for moments of sheer fright, from the relentless bullying of a prison inmate, to the disturbing physical state of the decrepit scientist.

Each of these stories are interwoven in a process that is dazzling, full of vision, but in unsuccessful in trying to hide the movie's fatal flaw. Each story is given a unique appearance: from the black and white classic feel of "Horror," to the documentary approach used in "Hero," Haynes creates a sensory assault that is visionary and creates a feeling of wonderment over its audacious technique.

Yet, despite this glorious wallow in stylish excess, there is a gaping void of emotional emptiness that permeates the three stories, which, taken in this context, appear stitched together so as to hide the absence of connectivity with the audience. There's never any time devoted to developing a sense of caring for the characters, or to understanding the human side of their situations, and if one cannot care for them, one cannot hope to feel anything for the movie as a whole.

As a style over substance film, "Poison" ranks among the very best in independent cinema, evoking an atmosphere of dismal degredation. Followers of Haynes's work will appreciate the movie, though I'm not so sure that first-timers will be so welcoming. The pastiche of stories is disconnected and never gains much momentum; Haynes gives the movie a point, but gets right to it without any buildup.

Rating:
Summary: Stylish to a fault, but missing emotional depth.
Review: Three stories, three styles, all with one common message screaming to be let out in the film "Poison," which is about as depraved a film as one can watch. The film is a monument to style over substance, a narrative that is as complex as it is maddening. Bold in vision and yet weak in its overall connection to the audience, the directorial effort of Todd Haynes is sumptuous yet left me parched for depth and understanding.

There is a common theme among the three disjointed stories, all of which have basically nothing to do with one another except their common message. There's "Hero," the documentary-style story of a family torn apart by one son's act of murder against his father; "Horror," the sci-fi spoof of a brilliant scientist out to tame the human hormonal system, only to ingest his own experiment and become the equivalent of Frankenstein's ghastly creation. And "Homo," the most subtle of the three, done in a welcomed mainstream style, explores the effects of homosexual lust and jealousy among the inmates of an early 20th century prison.

The message is everpresent through these stories, one that deals greatly with the differences in society, culture, and emotion. From the outcast child of "Hero" to the homosexuality that is the central focus of the prison drama, the script never fails in showing us the consequences of being different, as well as what becomes of those who capitalize on those differences. This makes for moments of sheer fright, from the relentless bullying of a prison inmate, to the disturbing physical state of the decrepit scientist.

Each of these stories are interwoven in a process that is dazzling, full of vision, but in unsuccessful in trying to hide the movie's fatal flaw. Each story is given a unique appearance: from the black and white classic feel of "Horror," to the documentary approach used in "Hero," Haynes creates a sensory assault that is visionary and creates a feeling of wonderment over its audacious technique.

Yet, despite this glorious wallow in stylish excess, there is a gaping void of emotional emptiness that permeates the three stories, which, taken in this context, appear stitched together so as to hide the absence of connectivity with the audience. There's never any time devoted to developing a sense of caring for the characters, or to understanding the human side of their situations, and if one cannot care for them, one cannot hope to feel anything for the movie as a whole.

As a style over substance film, "Poison" ranks among the very best in independent cinema, evoking an atmosphere of dismal degredation. Followers of Haynes's work will appreciate the movie, though I'm not so sure that first-timers will be so welcoming. The pastiche of stories is disconnected and never gains much momentum; Haynes gives the movie a point, but gets right to it without any buildup.

Rating:
Summary: A brilliant "triptych," so to speak: homo, horror, hero.
Review: Todd Haynes's accomplished feature film after his impressive short, SUPERSTAR, was nonetheless a provocative look into human nature, reflective of our modern society. Comprised of three parts, this wonderfully rendered film exemplifies the positive/negative charges of life--what's worth living and dying for. Plus, sublime revelations of each character!

I remember the first time I saw POISON after it's debut at Sundance in 1991, where it received Best Feature and much controversy. I can understand why some people may find it unsettling (homo-errotic jail scene) which at the time was considered oh so taboo. But, it's much more than a "shocking" scene--it's tender and intense. That kind of situation is what I find the most compelling--something no other film director has the guts to show.

This film is one of my all-time favorites, especially since it gave me new insights into a world I didn't know exsited. No small task!

Rating:
Summary: Best film adaptation of Genet to date
Review: Todd Haynes's penchant for postmodern parody (recently displayed in the deliberately garish melodrama _Far From Heaven_) can be seen in _Poison_, his first feature film. Haynes invokes obscure Poverty-Row horror films and television documentaries, among other cinematic forms. Some of the images are lovely, some are ugly, and some are extremely difficult to watch. All represent, in one form or another, French writer Jean Genet's view of sexuality -- pessimistic and frequently angry, but never entirely bleak.

This film was one of the infamous "NEA 4" projects that led then-Senator Jesse Helms to impose standards of decency on the National Endowment for the Arts. _Poison_ may be best known for the scandal it generated inside Washington's corridors of power, but it's still a brilliant film.

Now, the bad news: Video and audio transfers on this DVD are poor, with numerous print flaws, artifacts and distortion. But the full-frame transfer accurately represents the film's original theatrical aspect ratio of 1.33:1. The only extras are a slightly decrepit trailer and a solid, informative audio commentary from the director, the producer and the editor.

Rating:
Summary: DREAMLIKE...like a rhyme without reason
Review: When I saw this film for the first time I left the theater impressed with Todd Haynes' genius. The film is actually a trilogy. One story is about John Broom's life in prison and the nuances of sex and love between men there, with flashbacks to Broom's life as a boy in a reformatory. Here, we get a glimpse of adolescent boys and their discovery of sexuality and the hierarchies of the "counterfeit world of men among men." It feels like one is coming in and out of a dream state. The second is done in the form of a documentary, "Where is Richie Beacon?" - after shooting his father, his mom claims Richie just "flew away... out the window". It's a story about how creepy suburban America really is. The third is a B&W, 1950-ish sci-fi story about a man deteriorating with a disease (that could well be AIDS) and the psychological effect it has on him. "Poison" is for the philosophically inclined. Not for the homophobic and/or faint-hearted. It is a masterpiece in its scope and execution. Very visual and sometimes very disturbing. It touches on the maddening effects of suburbia, modern life, civilization, and the human condition. A MUST SEE for the philosophy student. not easy to follow. VERY COMPLEX. I've got it on VHS and will purchase DVD soon. If you like films with substance this one won't disappoint you!