Poison

'Poison' (2023) is stressful. This simple set-up of a man trapped in bed because of a snake leaves the audience in frozen state of nerves. The dialogue (mostly narrative) is detailed and given with such an intensity you drift into the scene yourself.

The scenery takes place mostly in a bedroom with the interior and exterior part of the house being movable pieces much like a play would be. The environment is active like a character and adds to the anxious plot.

On the surface the plot is simple and could be as old as time, but its what's in-between the lines that tell a much larger story. Roald Dahl paints this in his original story, and Wes Anderson with conservative creative control further adds to the story with unacknowledged visual objects and scenery.

This film, like the other Anderson directed films in the "four-part" series are all lessons in story-telling. Each having their own in-between the lines story.

Watch all of them. But don't miss out on this one even if you think its just another short film.

My last viewing and an excellent conclusion. At this point I am again aware of my high regard for Anderson's work and the resulting standing. What director can celebrate such artistic freedom, dancing on the threshold between mainstream and arthouse. Back to the film. A suspenseful beginning, immediately awakens my empathy, compassion. Tension, not a typical Anderson stylistic device, in fact none at all. But it works, it is maintained, also by not playing too many games. Plus an ending with reverberation, finally. At least for me, I had missed that in the other episodes. My favourite of the series.

This is a very simple story in which we find the protagonist lying in bed and suffering. This tries to be solved by his partner and also by the help of a doctor.

The acting in this Short story is great, Benedict Cumberbatch Manages to perform his character to perfection just by lying in bed and moving his face. I also want to point out the sparks of comedy that this story has, makes me remember that funny Doctor Strange. Together with the other two characters actings, the magic of Wes Anderson and the resources that he uses to sweeten the story and make it Sooooo tense, they create a magic story which is not really that magic.

After watching the other tales, this one shows too much of the story which takes some importance off the narrator.

¡Go watch it by yourself!

"I'm sorry."

"You can't be."

What an ending. It's so devastating that it left me a bit speechless. No matter the good deeds you do for others, it will be ignored because your race and religion is a problem for some people.

And that brings the end to the daily Wes Anderson's Netflix-Journey. I'm sad that it's over but I'm happy it exists.

Dev Patel, Benedict Cumberbatch, Ben Kingsley, Ralph Fiennes, Richard Ayoade, and Rupert Friend were all terrific.

AI and dumb TikTok users could never do this. All these short films are the finest work from Mr. Anderson. I hope he makes more movies like this in the future.

Who really has the poison in them, when you think about it ::sits back and quietly Puffs on a pipe in a scholarly robe::

And so with this, the fourth and final short (for now) adaptation of Roald Dahl by the superlative current distinctive filmmaker of his works, Wes Anderson, we get the kind of white-knuckle pot boiler-pressure cooker scenario that we usually would associate with Quentin Tarantino, including the razor-sharp editing and sickening sense of humor. This is editing that directs you into Benedict Cumberbatch's "Oh bloody hell get this snake off" face for several minutes and the on-camera narration and involved reactions by Dev Patel keeps one equally locked in.

By the time Kingsley comes on the scene, you're in for something that you know is going to kick your brain into the other side of the room, but it's all benefitting from it being so absolutely funny (take off your shoes!) And as mhch as someone watching can understand how pleasurable it is when that pressure valve gets kicked off, it is equally disturbing (but not unsurprising) how quickly, when things suddenly appear to be not in danger anymore, a human being can revert to the absolute worst (or, deep down, truest) version of himself. And that final moment in the car with Kingsley's doctor is rather heartbreaking - mostly for the character's understanding that the status quo has returned, and it sucks.

This may not reach quite the highs of Henry Sugar, but for what Anderson and his cast, particularly Cumberbatch who has not been this intense since the best of Sherlock, accomplish here Poison is a high point in the director's body of work and it is enough to say it's worth it to find on Netflix even if you don't have a subscription (get the free trial if you have to). 9.5/10.