Poms

Poms arrives as a comedy directed by Zara Hayes, and its first strength is a clear sense of purpose. Diane Keaton and Jacki Weaver give Poms a recognisable human centre before the larger mechanics take over. The central situation in Poms comes into focus without a long explanation: POMS is a comedy about a group of women who form a cheerleading squad at their retirement community, proving that you're never too old to 'bring it!'. Across its 1h 30m running time, Zara Hayes keeps Poms uncertain about tone and dramatic emphasis.

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Performance is the clearest human asset in Poms, beginning with the committed centre provided by Diane Keaton. Jacki Weaver keeps Poms from settling into one emotional register by approaching the material from another angle. The presence of Celia Weston gives the surrounding world of Poms additional texture without distracting from the main line. When Zara Hayes holds on a reaction, Poms communicates more efficiently than another explanatory exchange could manage.

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A close look at Poms reveals how performer rhythm carries information that the dialogue wisely leaves alone. Under the production banner of Entertainment One, Poms treats performer rhythm as part of its storytelling grammar. Comic timing built around character gives Poms a stronger sense of place within its United Kingdom context. The technical departments of Poms remain coordinated, so polish supports involvement instead of creating distance.

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The thematic thread that gives Poms weight is embarrassment, status and the gap between confidence and reality. Diane Keaton grounds that thread so Poms never has to choose completely between entertainment and reflection. A recurring focus on the central character gives the ideas in Poms enough dramatic pressure to matter. Under Zara Hayes, Poms works best when viewers are invited to notice the theme before any character explains it.

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The directorial personality of Poms comes from Zara Hayes remaining uncertain about tone and dramatic emphasis when the premise invites excess. Within Poms, Zara Hayes repeatedly favours readable choices over attention seeking flourishes. That discipline explains why isolated moments suggest a more compelling version in Poms rather than appearing only in isolated scenes. Where Poms becomes less convincing, events happen without gathering enough dramatic force, and the loss of control is noticeable without becoming fatal.

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Rather than summarise every event in Poms, it is enough to note how POMS places the central character under growing pressure. Diane Keaton gives that tension a face, which stops Poms from becoming a mechanical sequence of developments. Zara Hayes uses an important relationship to widen the stakes of Poms without losing sight of the original problem. Where a difficult choice becomes predictable, Poms recovers interest through the consequences surrounding it.

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For comedy fans who respond to personality and timing, Poms is ultimately a film for only the most curious members of its likely audience. Its most persuasive combination brings Diane Keaton together with comic timing built around character under the direction of Zara Hayes. The fact that events happen without gathering enough dramatic force prevents Poms from being entirely seamless. Even with that reservation, Poms has a clear point of view and enough genuine feeling to justify the journey.