We’re introduced to Darren Barrenman, caretaker of the Tiki Palms pool in Los Angeles. Played by writer-director Chris Pine, Darren is a free-spirited oddball who plunges deep into his passions and interests.
He cares for the pool as much as the community, attending city council meetings to advocate for bus routes. Darren sends typewritten letters to famed activist Erin Brockovich and explores local history, seeing connections everywhere.
Pine’s directorial debut gives us a quirky cast of characters who feel lovingly drawn from life. We meet Darren’s artist girlfriend Susan and his therapist Diane, played by Annette Bening with charming nuance. Darren is swept into a mystery when a femme fatale alerts him to a shady real estate deal, and he dives in headfirst, as is his way. Pine clearly poured heart into this indie film and brought great talent before the camera.
Yet Poolman sometimes splashes too wide, losing focus in niche details that will confuse casual viewers. The plot is thin, and tangents don’t always tie together tightly. While glimpses of Pine’s visual flair and the cast’s talents shine through, a tighter edit could have strengthened the whole. With refinement, Pine shows promise – this was an ambitious debut, and from the enjoyable moments, it’s clear he loves exploring the hidden depths of Southern California life.
Poolman Plunges into Paciness
Darren Barrenman tends the pool at his apartment complex with care, but there’s more on his mind. As a regular at community meetings, he rails against the local city councilman. When a mysterious woman says this politician is embroiled in dirty real estate deals, Darren is reeled in.
Thus kicks off Darren’s investigation. We learn councilman Stephen Tobolowsky may be collaborating with a developer on a project affecting the neighborhood. From here, the plot drifts as Darren follows scant leads. He consults with colorful pals like his therapist Diane, played delightfully by Annette Bening. Danny DeVito also shines as filmmaker Jack, desperate to insert himself into Darren’s whimsical world.
Potential abounds with these supporting players, yet they’re seldom leveraged fully. The script focuses on ambling through Darren’s busy daydreams more than advancing an engaging mystery. His girlfriend Susan, portrayed warmly by Jennifer Jason Leigh, sees little beyond concern for Darren’s commitment issues.
While Chris Pine’s direction gifts the film quirky touches, he and co-writer Ian Gotler struggle with questions any good thriller asks: what’s truly at stake, and how does the hero’s meddling raise the stakes? The real estate plot serves only as a loose anchor. We learn little of consequence would change whether Darren succeeds.
Characters have an lived-in feel but remain a sketch, lacking dimensionality. The threat lacks urgency. Poolman aims to float wherever Darren’s musings take it, pleasant yet politically passé. With sharpening of story and stakes, this tale could dive deeper.
Poolman Plays in Palm Springs
Chris Pine sets out to craft an homage to classic neo-noir films of the past with Poolman. It’s clear he draws influence from thrillers like Chinatown in its conspiracy storyline about corrupt real estate deals. Darren’s investigation is also reminiscent of gumshoe detectives of film noir era.
Pine lines the film with references that point to its neo-noir aspirations. Characters like femme fatale June are styled for the genre. Even the production design feels lifted from an earlier time, with vintage cars and costume choices. You can see Pine striving to capture aesthetics of noir forebears on screen.
For all these nods to noir, though, Poolman never fully commits to the style. While paying lip service to the genre, it doesn’t match noir’s moody visual tone or atmospheric lo-fi feel. Scenes are brightly lit like modern indies rather than dark alleyways and shadows neo-noir is known for. Matthew Jensen’s cinematography leaves the style somewhat surface level.
Poolman is at its best when it loosens its grip on these influences entirely. The real heart of the film lies in quirky characters and their humorous interactions. Pine has great success capturing Palm Springs vibes through eccentric residents. It’s less a noir satire than a portrait of idiosyncratic locals and their carefree lifestyle by the pool. While not fully delivering on promised genre pastiche, Poolman remains an enjoyable fish-out-of-water comedy in sunny SoCal.
Pine Testes his Talents
Chris Pine makes an ambitious directorial debut with Poolman. Behind the camera, he demonstrates flair with charming visuals and capturing quirky characters. Unfortunately, juggling writing, acting, and directing proved too much.
The script is where things come unraveled. There’s potential with ideas of Los Angeles noir satire and colorful locals. But the plot takes a backseat as Pine packs in every interest and reference. This makes for an uneven experience lurching between funny moments and head-scratching nonsense. The mystery also lacks urgency or purpose.
It’s clear Pine wrote parts for himself and trusted players like Danny DeVito and Annette Bening. They sink their teeth into roles with gusto. DeVito especially shines, stealing many scenes. Bening brings warmth and comic timing.
DeWanda Wise breathes mystery into the femme fatale June. Yet the character and others feel underserved with little for them to actually do. The script fails to craft a real story around its gang of characters.
Behind the camera, Pine shows an eye for quirky details. He elicits great performances and crafted vibrant secondary world. But as writer, he couldn’t focus the sprawling story and ambitious tones. With discipline and collaborators, Pine likely has potential as director. But for a first effort, trying to fully captain the ship proved beyond his skills.
The cast’s efforts keep Poolman entertaining in spots. But they can only lift material so far. With refinement, Pine could tap his clear passion and directorial abilities. For now, his writing remains the weak link.
Bigger Ambitions Than Results
Chris Pine swings big with his directorial debut Poolman but falls short of the mark. The film shows Pine’s care and passion for Los Angeles through its many specific nods. Unfortunately, this works against the story in some key ways.
The mystery plot fails to thrill. Interesting plot points are raised but never amount to much. Twists spiral aimlessly without clear logic. By the end, viewers may feel unsure of exactly what happened and why they should care. The resolution provides little payoff for time invested.
Meanwhile, the non-stop string of deep-cut LA references may delight local film buffs. However, they also distance the general audience. Inside jokes about places, people and even Hanna-Barbera cartoons leave newcomers perplexed. This quirky trivia overwhelms what should drive the film – its characters and intrigue.
Scenes further lack focus and tension. Moments between characters tend to wanders without advancing understanding or stakes. A comedic bit between Pine’s Darren and Jennifer Jason Leigh’s Susan loses steam after several minutes of bland banter. Similarly, Danny DeVito’s monologues start strong yet overstay their welcome. Tightened pacing could have helped compensate for other shortcomings.
While showing passion, Pine spreads his ambitions too thin. With discipline, these qualities – zany humor, true settings and magnetic actors – could shine. But unrefined, they cloud what matters most – telling an engrossing story that resonates beyond insider circles. Poolman teases with promise but falls well shy of realizing its potential. With experience, Pine may yet master juggling art and entertainment.
Potential Beyond the Page
While Poolman certainly has its fair share of flaws, there remain glimmers of promise within Chris Pine’s directorial debut. Beyond surface level laughs and committed performances, flickers of true talent shine through for an enthusiastic cinephile.
We’ve all experienced a misfire where good ideas fall short of execution. Poolman exhibits this dilemma. The quirky characters feel fully formed and invite us into their offbeat world. Figures like DeVito’s documentary filmmaker crackle with eccentricity. Minor roles like Ray Wise’s unhinged millionaire entertained to the fullest.
Elsewhere, Pine displays visual flair befitting his cinematic passions. Scenes pop with nostalgic production design perfect for the material. Clever frames and shot arrangements engage the eye. His direction draws authenticity from actors, a skill which rarely lies. Perhaps most encouraging, the filmmaker locates humor’s human heart. Splashes of charm and warmth alleviated bumpier passages.
With refinement, these strengths could soar. A tightening of narrative focus would grant characters room to expand fantastically. Leaning further into the project’s breezy spirit rather than rigid structure may set an easier flow. Visual panache already shown demands freer rein.
None achieve perfection on a first try. Yet Pine shows glimmers of cinematic soul well worth cultivating. Should further works harness talent while learning from missteps, his contribution to eclectic cinema seems assured. Where some see only flaws, the discerning see unrealized potential. With continued growth and experience, this director may one day splash delight across screens as memorably as his poolman splashes water. The best is yet to come.
Off Course
Chris Pine’s Poolman set out with high hopes, but lost its way. As a first-time director, Pine swung for the fences with this love letter to noir pastiches. But good intentions don’t always pan out.
While boasting terrific actors, Poolman stumbles in crafting a clear plot. The meandering mystery goes nowhere satisfying. Darren Barrenman remains an enigma, his interior left unplumbed. Violations of show don’t tell strain credulity. Splendid performances and visuals deserve a sturdier vessel.
That’s not to say all is lost. Flashes of talent show through Pine’s unique aesthetic. He draws nuanced work from a murderers’ row of co-stars. Scenes pop with nostalgic flair and wit. Clearly Pine adores film’s zaniest genres. With experience, that passion could yield magic.
But debuts aren’t always dreams. Good ideas got lost in Poolman’s auditory thicket. Its heart was pure – honoring oddballs and oddball cinema. But goodwill can’t replace firm craftsmanship. Where the film really sinks is narrative; characters remain strangers, victims of an overreaching script.
While it aims to splash, Poolman ends up treading water. But no first effort defines an artist. With study and care, Pine’s visual flair and camaraderie could profoundly move audiences. If he learns from this, his future works may truly make waves. For now, Poolman is a noble flop that shows the man has sea legs – he just needs to find his bearing.
The Review
Poolman
Chris Pine's directorial debut showed flashes of promise despite unfocused storytelling dragging down its loftier aims. Poolman benefits from a gifted ensemble that brought zaniness and heart to imaginative characters deserving of a tighter narrative. While ambitious in scope, the result proves greater experience is needed to wrangle complexity and deliver satisfying resolution. As a first step behind the camera, Pine demonstrated passion for oddball cinema though needed stronger polish in developing plot and tone. There is potential worth watching unfold if lessons are learned.
PROS
- Committed performances from star-studded cast
- Flashes of genuine humor and heart
- Unique visual aesthetic pays homage to noir classics
- Director demonstrates flare for quirky characters and dialogue
CONS
- Unfocused, meandering plot that lacks resolution
- Characters not fully developed or explained
- Tone varies wildly without clear directorial vision
- Narrative overwhelms solid acting with unnecessary complexity
