Chris Pine might love Los Angeles more than anyone else.
He also loves movies about Los Angeles, talking about movies about Los Angeles, going to the movies in Los Angeles, and making movies about making movies in Los Angeles, which is all laid out in his affable directorial debut, “Poolman.”
It’s a love letter/homage/satire of stoner L.A. noir movies. Pine co-wrote the script with Ian Gotler, and stars in the titular role, as the goofy Darren Barrenman, aka DB, a slacker pool man with eyes the same cerulean shade as the chlorinated body of water he tends with an almost religious ecstasy.
This Ken’s job is “pool,” and in “Poolman,” a riff on “Chinatown” that keeps announcing itself as such, DB has to follow the water.
Our unlikely hero is the Dude from “The Big Lebowski” as a manic pixie dream boy, an effervescently charming and inexplicably quirky chap. With his willingness to be vulnerable, childlike enthusiasm and unique wardrobe, DB also calls to mind another classic L.A. character: Pee-wee Herman.
DB lives in an RV in the courtyard of a downtrodden apartment complex, rattling off typewritten letters to Erin Brockovich, hanging with his motley crew of pals, including his therapist Diane (Annette Bening), documentary film collaborator Jack (Danny DeVito), girlfriend Susan (Jennifer Jason Leigh) and his friend and associate Wayne (John Ortiz). Together they ruminate about the good old days of L.A. and storm city council meetings with dramatic filibusters about bus schedules.
FEMME FATALE
But this isn’t just another shaggy-dog hangout movie, showcasing Pine’s appreciation for classic movies, beloved actors, old-school L.A. restaurants, short shorts and silly hats.
Enter the femme fatale, at the edge of the pool. In a sculptural 1940s-inspired frock and hat, she is June Del Ray (Dewanda Wise), the assistant to the city council member (Stephen Tobolowsky) with whom Darren is locked in a brutal, yet banal, battle.
She tells Darren she has dirt on her boss collaborating into a shady real estate deal with a developer named Teddy Hollandaise (Clancy Brown). With a bat of her eyelashes, the pool man becomes a P.I.
“Poolman” is Pine’s guileless and utterly goofy take on the movies that he name checks throughout, like the frequently referenced “Chinatown” and “Who Framed Roger Rabbit?”
It unfolds like more recent films such as “Inherent Vice” and “Under the Silver Lake,” self-conscious takes on “L.A. noir” that come with extra layers of existentialism and winking commentary. Pine seems less motivated to comment on the genre, just happy to be playing in the sandbox, flinging around the iconography, archetypes and extremely niche references.
The Achilles’ heel of “Poolman” is its tendency toward hyper-specific geographical jokes; it’s a bit too “inside baseball” to appeal to anyone outside of L.A., and sometimes feels like a feature length version of the “Saturday Night Live” sketch “The Californians” (Pine’s long blond locks add to that sensation). The central mystery is flabby and uncompelling, it feels obligatory at best, a real estate scandal offering a loose background in front of which these actors play.
Thankfully, the best part of “Poolman” is the cast. If Pine has great taste in anything, it’s actors.
GREAT ENSEMBLE
He’s assembled an ensemble that includes a superstar (Bening, having a ball), a comedic heavy-hitter (DeVito, running an almost nonstop monologue about parking and pie), and a group of character actors who always make you feel like you’re in safe, capable hands (Ortiz, Leigh, Brown, Tobolowsky). Add to that a compelling ingenue (Wise) and at least one delightful weirdo (Ray Wise) and the film would be entertaining even if they just read the phone book.
The plot twists spiral out of control, and it never quite feels like Pine and Gotler have control over this vehicle careening over the surface streets of L.A. But there’s such a woo-woo warmth to the endeavor that it’s never an entirely unpleasant experience.
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