Sam Hayes’ Pools crashes onto the indie scene with a splash, balancing stylized flair and emotional sincerity in a coming-of-age story that’s part Scott Pilgrim vs. the World, part Rushmore, and all heart. Powered by a breakthrough performance from Odessa A’zion, this is a film that isn’t afraid to get weird, go deep, and dive headfirst into the chaos of growing up.
Set over the course of one neon-soaked night, Pools follows Kennedy (A’zion), a rebellious college student with one last shot at staying in school. Instead of studying, she dons her “cloak of night” and rallies a crew of misfit friends for a pool-hopping odyssey through the posh backyards of her college town. What begins as reckless escapism slowly transforms into something far more introspective, as Kennedy processes the grief of losing her father and confronts the terrifying ambiguity of adulthood.
A’zion is magnetic. With her expressive face, sharp comic timing, and raw vulnerability, she delivers a performance that cements her as a rising star. She also sings original songs in the film—beautifully—which makes her portrayal all the more personal and resonant. It’s a full-on coming-out party for the actor, and the world should take note: she’s arrived.
Visually, the film is bold and energetic. Bright colors and quirky zooms bring an almost storybook aesthetic that echoes Wes Anderson, while surreal moments (some that feel like abrupt daydreams) keep the tone playful and unpredictable. There’s a looseness to the pacing that feels entirely intentional—like the fleeting nature of youth itself. One moment, you’re laughing out loud at a perfectly timed line from Tyler Alvarez (whose delivery is hilariously unsure and authentic); the next, you’re floating in silence, watching a tender underwater shot that captures the weight of everything unspoken.
The soundtrack slaps. From the funky chaos of Thumpasaurus to the emotional resonance of Cody Fry’s “Fine,” the music is curated to underscore Kennedy’s emotional turbulence. Fry’s lyrics, especially—“Now I would give anything just to feel fine”—mirror her internal spiral with haunting precision.
The cast is stacked with up-and-comers from the world of horror and TV: Mason Gooding, Francesca Noel, Michael Vlamis, and Ariel Winter (playing deliciously against type as a blonde). Winter’s performance might not have the same polish as her co-stars, but the ensemble still thrives thanks to sharp, real-but-clever dialogue and strong chemistry.
There are moments where Pools stumbles slightly in tone, especially in the second half, and a few “unserious” bits might feel jarring next to the film’s heavier themes. But those inconsistencies also reflect the spirit of the film itself—this is a story about how life doesn’t make sense until it suddenly does. Like jumping into a cold pool, it startles you, wakes you up, and somehow leaves you feeling renewed.
In many ways, Pools plays out like its own metaphor: a summer night of laughter and freedom that inevitably ends with the sobering realization that youth doesn’t last forever. Coming of age doesn’t stop when you turn 18—and Pools refuses to pretend otherwise.
For some kid watching, this movie will be life-changing. And for the rest of us, it’s a reminder to throw on our cloak of night, find clarity in the deep end, and hold on to the people who help us float.
Jessie Hobson