Pools (2025) - Film Review

      Pools, 2025.

      Written and Directed by Sam Hayes.

      Featuring Odessa A’zion, Ariel Winter, Mason Gooding, Michael Vlamis, Francesca Noel, Tyler Alvarez, Suzanne Cryer, Stan Adams, Lucinda Johnston, Kyle Anderson, Israel Idonije, and Joe Angelo Menconi.

      SYNOPSIS:

      As her life unravels, Kennedy strives to reconnect with her deceased father, seeking permission to embrace her own life through an adventurous journey of pool hopping across the lavish properties in her college town.

      Kennedy (Odessa A’zion), a college student, is consumed by grief over her father's death, which has drained her emotionally and led to a withdrawal from social interactions and classes, all while enduring the oppressive summer heat in Chicago. With occasional reflective narration from writer/director Sam Hayes on the surroundings, Pools presents a narrative of personal development amid profound sadness, juxtaposed with a cheerful appreciation for Chicago (set in Lake Forest), even incorporating a few jokes related to Mike Ditka’s Bears.

      This unexpected blend of elements is charming, as the hot Chicago backdrop plays a crucial role in the narrative. To escape the heat, one naturally seeks refuge in a pool. For the rebellious Kennedy, this becomes both a challenge and an opportunity, as she gathers a small group of friends for an escapade through the Lake Forest neighborhood, hopping from pool to pool while evading detection and the potential legal consequences that may follow.

      Joining her on this tipsy aquatic adventure are her college roommate Delaney (Ariel Winter), who hopes to mend their strained friendship caused by Kennedy’s self-imposed isolation during her grief. She brings along the awkward Blake (Tyler Alvarez), eager to break away from his books for an adventurous experience. There’s also Reed (Mason Gooding), a jock eager to prove he’s more than just a stereotype, especially to Delaney, whom he likes. Lastly, Shane (Francesca Noel), who finds Kennedy odd, joins because of her interest in Reed. Additionally, the film tracks the day of AC technician Michael (Michael Vlamis), whose encounters with the main characters will not be revealed here.

      While the swimming scenes, beautifully captured by cinematographer Ben Hardwicke (particularly the underwater shots), symbolize a deeper sense of liberation for Kennedy amidst her struggles, they gain even more significance as her story unfolds. Furthermore, Kennedy faces potential expulsion if she fails to attend class the next day, adding a sense of youthful urgency to the night, marking a turning point from her life of self-sabotage.

      However, around 30 minutes into the film, Sam Hayes appears to exhaust the premise's potential. This leads the group to one of the opulent homes (discovering the owners are out of town), diluting the uniqueness of their adventure and transitioning into a more familiar dynamic among the characters, while also overestimating the audience's interest in anyone other than Kennedy. Although Michael becomes a significant character in the third act, it feels unnecessary to deviate from the carefree vibe between Kennedy and her crew to delve into his unfortunate day. The third act would still resonate and feel authentic due to the themes and performances, even without that interruption.

      Moreover, some humor in the first act can be cringeworthy, such as a principal's suggestive phone slip while distracted by an attractive man or the excessive crash zooms that, while skillfully executed, introduce a quirkiness that seems out of place. On some level, Hayes likely realizes this, as this stylistic approach fades once the pool festivities commence. The film also stretches believability at moments, as the characters easily bypass breaking and entering in a contemporary world where affluent homeowners typically have security systems or footage (as illustrated by Weapons a few weeks prior); however, the heartfelt essence of the storytelling often compensates for these lapses.

      Ultimately transforming into a narrative about processing grief and chasing artistic dreams over mundane routines, Odessa A’zion keeps Pools engaging. At times, it feels more suited to a shorter format, yet there’s sufficient solid character development tied to its setting to prevent it from overstaying its welcome.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder