Writer/director Sam Hayes dives right into the stylized vibes of Pools, a gripping character study that makes quite a splash. Anyone who has ever felt adrift looking for their purpose in life will find relatable meaning in the surprisingly emotional subtext. Odessa A’zion (Hellraiser, The Inhabitant) leads a cast of up-and-coming young talent, including Michael Vlamis (Roswell: New Mexico, The Resort), Mason Gooding (Scream VI, Heart Eyes), and Ariel Winter (Modern Family, The Quarry). A’zion’s raw performance serves as the anchor. A dreamy, sweaty coming-of-age story set during a relentless summer, Pools has a haunting quality that becomes impossible to resist.
Trapped in summer school as a last-ditch effort to fix her grades, Kennedy (A’zion) spends her days doodling, penning song lyrics, and dodging her responsibilities while the sweltering heat practically distorts reality. Hayes goes to great lengths in establishing an atmosphere of hotness. Fanny-pack rocking super senior, Reed (Gooding), serves as a prime example of this—Reed is in constant undress, dripping sweat, one whose entire existence revolves around working out. As such, there’s maybe a single scene in the film where we actually glimpse Reed in a shirt. Otherwise, his rippling abs and dumb blonde energy are a constant source of entertainment. Another constant: the need for air conditioning. Michael (Vlamis), a flirtatious repairman, seems on constant call around the neighborhood.
As Michael gets a little too cozy with one of his clients, Kennedy rebels. Leaving Reed to bring the alcohol, Kennedy organizes a group of friends for a final wild night of debauchery. A midnight meetup quickly transforms into a series of drunken pool-hopping misadventures where secrets come to light. The group’s reckless escapism gives way to emotional honesty, sparking character revelations that strengthen every relationship. Recurring imagery of water gives Kennedy a concise arc. She remains constantly haunted by the death of her father, unable to find him even in her dreams. A’zion plays Kennedy with an unhinged energy that somehow makes her incredibly endearing at the same time. Desperate to keep her friends entertained, Kennedy comes across as deeply complex, if a tad frustratingly carefree.
By the time Kennedy crosses paths with Michael, Pools has transformed from a glitzy hangout movie into a mature, character-driven drama. Despite this clash in tones, Pools flows together harmoniously. Much of this can be attributed to the excellent chemistry between the ensemble cast. They clearly had a blast while making the film, so we as an audience are always on their wavelength. Individually, they separately interact, but the mix and match combinations work to the movie’s favor. Vlamis and A’zion were perhaps my favorite pairing, parrying off one another well. More than any others, Michael and Kennedy see themselves for who they truly are, given the added facet of an outsider perspective.
Pools establishes Sam Hayes as a major force in the indie scene. Two original songs written and performed by Odessa A’zion will probably garner attention from her fanbase, and both offer meaningful insight into Kennedy’s character. On a similar note, an original score from grammy-nominated composer Cody Fry provides a neverending soundtrack for Kennedy’s discontentment. The trippy imagery lingers in the mind long after the sublime credits roll, replete with character highlights. Stylish and just as effortlessly messy as its central character, Pools delivers big on wild party energy and personal growth in equal regard.
Pools screened at 2025’s TIFF Next Wave.
