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Milano and Schaech make an appealing couple it just would have been nice if there was a better - or, barring that, a hotter - film built around them. This wouldn't be so bad, if any of the intended titillation did its job, but instead the sex scenes are flat and blandly choreographed. In fact, Lily is such a distinctly softcore film that most of its plotting seems concerned with getting its characters nude or into sexual situations, rather than creating dramatic tension. Unlike the antiheroines of the films that bookend this one, Lily becomes a homewrecker almost on accident - which is frankly a less interesting choice. She falls for iconoclastic sculptor Johnathon Schaech and starts posing nude for her skeevy art teacher Xander Berkeley.
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The diary is full of confessions about seducing and manipulating men, which serves as inspiration for Lily to loosen up. In her dorm room, she discovers the diary of a girl named Ivy (which logically cannot be the same Ivy as the first movie, since we know she never went to college, right? Eh, who cares?). Milano is suburban-bred art student Lily, who moves to L.A. Where Poison Ivy feels like a real movie, Lily feels like a well-cast but uninspired and overlong Red Shoe Diary. Like that film, Lily is directed by Anne Goursaud, who edited for Francis Ford Coppola and Bruce Beresford before getting into the director's chair for an episode of Red Shoe Diaries, which seems to have dictated her aesthetic from there on out. No longer the little girl of Who's The Boss?, Milano was proving her womanhood (sort of) in decidedly racier material, such as 1995's Embrace of the Vampire. It's an imperfect product, but one that shows more thought and effort than what comes next.Īlyssa Milano was in the midst of a career revamp when she signed on for Poison Ivy II: Lily (1996 ). The cast has surprisingly strong chemistry, which sadly dissipates somewhat in the film's more cartoony final third.

It doesn't take too long for Ivy to try to secure a more permanent place in their luxurious house by plotting to seduce dad and replace mom.
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Ivy soon impresses Gilbert's parents, terminally ill mom Cheryl Ladd and pompous TV station manager dad Tom Skerritt. Gilbert's character nicknames Barrymore "Ivy" based on a floral temporary tattoo on her thigh (a detail the later movies seem to forget). Realizing their shared misfit status (and maybe a burgeoning sexual attraction too), they become fast friends. Barrymore is the low-class wild child who becomes a minor obsession of withdrawn trust fund goth Sara Gilbert. What's most refreshing, however, is how much of this ostensible erotic thriller is devoted to building an unusual teenage female friendship - albeit one that goes inevitably awry. Shea and Ruben made a handful of flicks for Roger Corman, such as Stripped to Kill, so they know what sells in this case, it's Drew Barrymore in her post-rehab, still-vaguely-dangerous Little Girl Lost era. Made by then-husband-and-wife team Katt Shea (writing and directing) and Andy Ruben (writing and producing), the film feels like the work of exploitation filmmakers trying to make good.
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The first Poison Ivy (1992 ) deserves to be viewed as an actual movie and not just as late-night cable filler.
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Shout! Factory has collected all four (yes, four!) entries in the series (in both R-rated and unrated iterations, for the first three) in a no-frills package that will prove nostalgic for a certain subset of video store patrons. In the cold harsh light of 2019, the series mostly looks dated and silly - although the first film (the only one to play in theaters) arguably stands out as a remarkably solid hunk of pulp that got lost in the erotic thriller glut of the post- Fatal Attraction era. The Poison Ivy films were a staple of '90s video store shelves, when one of the most important production values in a rental was T&A. NOTE: The images accompanying this article are taken from various online sources and do not represent the quality of the Blu-rays under review.
