“Poison” makes for a disjointed viewing experience, with three vignettes/plots about alternative sexuality. All three are a bit campy examples of real issues on homosexuality, but are too extreme to be considered a deterrent against queerness. The plots intertwine, surprisingly bringing the film’s audience smoothly to and from tones like absurdity, the sublime, and the erotic. Michael W. Philips suggests that the three vignettes won’t stand out on their own, and I agree with him for a bit. But then who wants to release three short films instead of just making a full length feature?