Directed By Zara Hayes
Starring – Diane Keaton, Pam Grier, Jacki Weaver
The Plot – A comedy about a group of women who form a cheer leading squad at their retirement community, proving that you’re never too old to ‘bring it!’
Rated PG-13 for some adult language/sexual references.
– Enjoyable cast. Keaton’s usual May fare is exceptional this time around, investing in a character who actually has a bit of flare and attitude to the usual types she has unfortunately become saddled with. In addition to this, the role has an unordinary amount of physicality to it, proving that age is only a number, and that Keaton’s persistent filmography is all about the way she feels in the roles she consistently takes on. As good as Keaton is however, it’s actually Weaver who steals the show as her sexually active neighbor/best friend. Jacki has had a resurgence of late in Hollywood, but Sheryl is a role that feels like she has invested the most of herself into, combining dry sarcasm and a no-nonsense demeanor that keeps the people around her constantly on their toes. These two are a delight to watch interact on-screen, and it makes me wish that the film, especially in the second half, would’ve donated a bit more to watching their unfolding drama play out with the attention that it rightfully deserves.
– Snappy comic dialogue. I’m not ashamed to say that I laughed a lot in this film, despite the fact that its outline is typical set-up for adult comic sitcoms. Hayes biggest strength as a director is in the polished timing that each of ladies exert on the conversations, allowing enough time to soak the punchline of the material in without taking away from the pacing and progression of the scene, and it conjured up an effectiveness that struck a funny bone within me around 70% of the time. Perhaps it’s the awkwardness of seeing senior citizens in these unconventional situations, or the fact that Hayes knows her audience very well. Either way, “Poms” infectious material is a pep rally of timely dialogue and classy sight gags that is easily one of the more feel good films of the spring movie season.
– Crisp editing. This accomplishment is two-fold. The first is its enhancement of the dual scene jokes that require a sharp slice between to truly sell them. An example of this is a character who is repeatedly told by her husband that she can join the cheerleading group over his dead body, and then cuts to his funeral. While morbid in its punchline, the editing does convey the point with blunt force that reaches for the laugh as quick as it can. The second thing the editing is used for is the dance routines themselves, which attain a level of professionalism to them, thanks to a barrage of quick-cut edits that help maintain the intensity of the number. When you especially consider how little edits were used early on in the group’s routines, and how inexperienced they looked, it’s remarkable that the closing number establishes a feeling of the group growing together as a unit, making what they accomplish that much more believable because of talented editing that is always one step ahead.
– Profound examples of senior treatment. This is perhaps the biggest reason to see this film, as the depictions by higher authority and youthful outsiders feels every bit as honest as it does absorbing. As someone who works in a senior citizens community, I can say that the transition into assisted living isn’t always the easiest. It leads to a loss of freedoms that they never choose to happen, but are relegated to thanks to the effects of aging. For where that plays in “Poms” is the interaction with high-schoolers, who are often too immature to understand that these are people who were once where they now stand. As well, the overprotective family member, who often oversteps his boundaries for better of the person in question. Hayes touches on this multiple times in the film, and I appreciate the focus given to such an often overlooked plague that hinders the spirit in senior citizens long before anything else sets in. These are people who wish to live their lives as similar as they did before they moved into this community, so the best we can do is support that yearning for routine.
– An easy sit. At 86 flimsy minutes, “Poms” is one of the easier watches that I have had in quite sometime, and this is in part due to the progression in scenes that rarely stalls or remains in place for too long. This is a movie that continuously shifts from one setting to the next, and I feel that movement helps vitally in keeping this film from being something that it doesn’t necessarily need to be, in the idea of unnecessary padding. Each act here is given ample time to prove its weight to the progression of the story, and it helps even more that Martha (Keaton) is a protagonist who we can get behind, especially for the secret conflict that she is keeping from her friends. We, like the pacing of the film, embraces her growing connection between them, allowing us to invest in the group’s dynamic thoroughly while maintaining the care-free attitude of the minutes that are passing off-screen.
– Gorgeous setting. Sunnyside Acres is a place that I want to live in, if only for the inordinate amount of suburban ranches that stretch as far as the eye can see. Keaton’s character even comes from a New York apartment, so her move is a definite upgrade. In addition to the gorgeous housing quarters, the benefits of multiple heated pools, sports courts and alley’s, and the ideal weather that always lives up to its name, definitely puts the audience in the frame of mind that this place is unlike anywhere else you’ve ever seen, and it better translates the immensity of the change in Martha’s life that now comes at her in every possible direction. It proves that the film definitely took some time in scouting the proper locations to keep this from feeling like a stage-style setting, and the absorbing quality of the film’s desirable setting is one that I seek permanent residency at.
– Clunky soundtrack. I hated the soundtrack for two reasons. The first is because the familiar beats of modern day pop music don’t mesh well with the age grouping of the cast and audience that accompany it. I understand that they need dance tracks to sell the dance sequences, but surely there are more timely appropriate measures to be taken with the music director who tied everything together. The second reason is because it feels too desperate and obvious to include any track that has been on the top 40 in recent years. From a personal level, I don’t enjoy one of these songs on the radio, and when I hear them in a film where their inclusion feels completely inappropriate, it culminates in an opportunistic feel that reeks of studio involvement.
– For the sake of it. There are measures taken with a trio of antagonist characters and two dramatic inducing situations that happen for no other reason than the movie calling for it. On the former, the film’s three antagonists have no serious motivation to go after these women, and it almost gets to cartoonish levels of evil by the time is over. What’s even more convincing is if you take these scenes out of the film, you trim about ten minutes from the run time and lose nothing of substantial value because of it. On the subject of the situational drama, these can easily be solved with even a shred of intelligence that so obviously did not go into them. As an example, one scene deals with the ladies creating a diversion to break out one of their crew free from their overbearing son. MINOR SPOILER – It ends with them throwing a rock through his car window, and they sneak around the back of the house to pull her through the window. Couldn’t they have just done this without throwing a rock? Won’t it be even more difficult to accomplish since they have to go back out front to the bus anyway? Then there’s the conflict of them needing a place to practice since a power hungry manager is cutting their time down. There are literally hundreds of places on this campus that they could practice. The film even realizes this midway through, as they start practicing in Martha’s garage.
– No exposition for supporting cast. It’s a bit frustrating that the film really only builds two women throughout the entirety of this film, and it leaves some credible actresses like Grier, Rhea Pearlman, and Phyllis Sommerville appearing without much emphasis behind their inclusion other than to fill a quota. For my money, the film could’ve omitted its antagonist desire in favor of further establishing these ladies for the importance they deserve. It would make your interest in the overall group that much tighter, and cement the screenwriters for having depth in writing beyond just the table dressing of the plot.
– Montage sequence overkill. Everywhere you look in this film, there’s a musical montage to shortcut the values and importance that exposition sets, and it gives the film a frequent feeling of fast-forward that does more harm than value for the believability of the routines. If I’m remembering correctly, I am currently counting eight different musical montages. This would be overkill for a 90’s underdog sports movie, and even worse for a film that doesn’t necessarily require these huge jumps in a time frame that isn’t that immense to begin with. It’s an overdone cliche that reaches ridiculous levels of incorporation by the end of the film, and triples the numbers of times that we actually see the group doing their thing without cut and paste.
My Grade: 6/10 or C