SKU: 16533708851
indoor landscaping plants

indoor landscaping plants Giant Dracaena 'Marginata'

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Description

indoor landscaping plants Giant Dracaena 'Marginata'Introducing our Giant Dracaena Marginata The name Dragon Tree isn't just good branding. Those narrow, red edged leaves fanning out from bare, sculptural canes do look like something that belongs in a more dramatic story than your living room. Fortunately, she's happy to relocate. This Dracaena Marginata is already the version of herself that takes years to achieve tall, branched, with the kind of architectural presence that makes a room look

Introducing our Giant Dracaena Marginata

The name Dragon Tree isn't just good branding. Those narrow, red-edged leaves fanning out from bare, sculptural canes do look like something that belongs in a more dramatic story than your living room. Fortunately, she's happy to relocate.

This Dracaena Marginata is already the version of herself that takes years to achieve - tall, branched, with the kind of architectural presence that makes a room look deliberately designed. Native to Madagascar, she's one of the most distinctive Dracaena types available as a houseplant, and at this size, one of the most impressive. She's low-maintenance by nature, tolerant of imperfect conditions, and unbothered by the occasional missed watering.

She is not pet-friendly, so a spot out of reach of curious animals is worth planning for. But if your space works for her, she'll work hard for it.

One plant. One home.

There's one of her. Book a live video call to meet her before someone else does - you say hello, she ships exactly as you saw her.

How much light does a Dracaena Marginata need?

Dracaena Marginata thrives in medium to bright indirect light, where her red-edged leaves show their strongest color. She tolerates lower light conditions, though her canes may stretch and growth slows considerably in dim spots. Direct sun through glass can scorch her leaves, so filtered light or a position set back from a bright window suits her well.

How often should you water a Dracaena Marginata?

Dracaena Marginata should be watered when the top half of the soil has dried out, then watered thoroughly and allowed to drain completely. She's drought-tolerant and strongly dislikes sitting in wet soil - overwatering is the most common way to lose a Dragon Tree. In winter, let the soil dry even further between waterings. If your tap water is heavily fluoridated, filtered or rain water will help prevent brown leaf tips over time.

What fertilizer does a Dracaena Marginata need?

Dracaena Marginata does best with a balanced liquid fertilizer at half strength, applied every four to six weeks during spring and summer. She's a light feeder - too much fertilizer contributes to salt buildup and the leaf tip browning that Dracaena types are prone to. Feeding should stop completely in autumn and winter when her growth naturally slows.

What temperature does a Dracaena Marginata like?

Dracaena Marginata is most comfortable between 65-80°F (18-27°C) and handles typical indoor conditions well. Cold drafts and sudden temperature swings can cause leaf drop, so she's best kept away from exterior doors and air conditioning vents. She is not frost-tolerant and should always be kept indoors in cooler climates.

Does a Dracaena Marginata like humidity?

Dracaena Marginata tolerates average indoor humidity but performs better at moderate levels of around 50% or above. In dry air, brown leaf tips are her way of registering a complaint. A pebble tray or occasional misting helps in particularly dry rooms, especially during winter when indoor heating reduces humidity significantly.

How big does a Dracaena Marginata get indoors?

Indoors, Dracaena Marginata typically reaches 5-6 feet tall, with older specimens in good conditions growing taller over time. In her native Madagascar she develops into a small tree of up to 20 feet, but as a houseplant she stays well within manageable proportions. This particular Dragon Tree is already well into the upper range of that indoor height.

How fast does a Dracaena Marginata grow?

Dracaena Marginata is a slow to moderate grower indoors, gradually extending her canes and developing more branching over several years under good light. Growth slows further in lower light conditions, producing a more open, sparse appearance over time. A mature specimen like this one represents years of steady development that most buyers would otherwise be waiting for.

Is a Dracaena Marginata pet-friendly?

Dracaena Marginata is not pet-friendly and is listed as toxic to both cats and dogs by the ASPCA. In cats, ingestion can cause vomiting, drooling, dilated pupils, and lethargy. In dogs, symptoms include vomiting, diarrhea, drooling, and weakness. She's best placed in a room or on a surface that pets cannot access.

Is a Dracaena Marginata toxic to cats?

Dracaena Marginata is toxic to cats and is listed as such by the ASPCA. If a cat ingests any part of the plant, symptoms can include vomiting, drooling, dilated pupils, depression, and loss of appetite. Any suspected ingestion should be followed up with a call to your vet.

Is a Dracaena Marginata toxic to dogs?

Dracaena Marginata is toxic to dogs, with ingestion causing symptoms including vomiting (sometimes with blood), diarrhea, drooling, weakness, and loss of appetite. Dogs prone to chewing houseplants should be kept well away from her, and a vet should be contacted if ingestion occurs.

 

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SKU: 16533708851

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4.3 ★★★★★
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Lana
Omaha, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
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dra
Carnegie, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Lexington, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
M
Verified Purchase
mojo_navigator
Natrona Heights, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
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Verified Purchase
KEITH
Chelsea, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025

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