Whilst there is a sense of an on-the-nose metaphorical aspect to Pools, and a whole lot of “girl who is going to be okay” mentality to it too, Sam Hayes‘ dramedy manages to just keep itself afloat enough in the self-discovery genre it serviceably adheres to.
College student Kennedy (Odessa A’zion) doesn’t have her shit together. But in spite of her flailing grades (one of her classes she’s even received an “F”) there’s an across the board sense that no one truly wants to see her fail. Whether or not such a counsellor as Miss Lewis (Suzanne Cryer) would actually stick her neck out as much as she does for the disinterested Kennedy is an additive you’ll have to accept in all its unlikelihood, but the bright, if unapplied, student seems to have a large support system behind her, despite the fact that she’s entirely unwilling to take their guidance on.
A’zion provides fine work as Kennedy, but she isn’t always the easiest character to barrack for, and it’s in that which makes Pools a frustrating filmic experience. She’s quirky and full of “wisdom”, but her decisions are far from sound, and if A’zion wasn’t as committed to the cause as she is, it’s hard to know how much of Pools would remain as watchable. It’s of immense benefit that she’s surrounded by a likeable ensemble – which includes Mason Gooding, Ariel Winter, Tyler Alvarez and Francesca Noel – but none of them are working with particularly strong characters, and they only prove as enjoyable as they do due to their respective talents as performers.
The title itself proves a literal translation as Kennedy, on the verge of being kicked out of college, bands together am eclectic group of fellow students – Reed (Gooding), a fitness-obsessed himbo of sorts who probably should have graduated a few years prior, Delaney (Winter), who has a complicated history with Kennedy, Blake (Alvarez), who is torn between wanting to break out of his strict routine and stay on course for his future, and Shane (Noel), who is hoping to use Kennedy’s odd offer to hang out as a way to get close to Reed – to do a little midnight pool hopping amongst the more prestigious properties of their small town. It’s a bit of a bizarre excursion they take, and as much as the film starts to suggest it might lead to mischievous shenanigans, it adds up to little more than breaking-and-entering wealthy properties, with Kennedy, once again, cavalier with her actions and their consequences.
Shots of Kennedy floating underneath the surface of the water don’t hold much subtlety, and the eventual reveal of her struggles in the aftermath of her father’s passing don’t hold as much weight as they should. It’s a film that feels as if it wants to say something important, but fails to execute such with any sincerity, hoping that allegorical dialogue will suffice.
There’s a youthful energy to proceedings, without question, and it’s intent in breathing life into the genre is admirable, but Pools doesn’t quite swim as gracefully as clearly intended. The quest for one’s identity is something many audiences will identify with, and it’s highly likely the younger generation could see this as a piece that truly speaks to them – and I’m not going to take that away from them – but aimlessness in film, however, needs to have a sense of direction, and Pools, despite confident ingredients, feels as if it’s still finding its strokes.
TWO AND A HALF STARS (OUT OF FIVE)
Pools screened as part of this year’s SXSW Sydney Screens Festival, which ran from October 14th – 20th, 2024.
