Chris Pine makes his directorial debut at the Toronto International Film Festival with “Poolman,” but bellyflops more than he makes a splash.
), who’s making a documentary titled “David and Go’Lie’Th” about Darren’s efforts to revitalize L.A. Jack and Diane are Darren’s Tahitian Tiki neighbors and friends , and also in his life are his right-hand man/gofer Wayne and his quasi-girlfriend Susan , who has a habit of sleeping with other people.
These characters prattle on at a mile a minute about all sorts of semi-coherent things, and Darren likes to report all of them—as well as details regarding his relationship status, emotions and misadventures—in letters that he writes on an archaic typewriter and sends to none other than Erin Brockovich, his advocacy idol. At some later juncture, Darren admits that he does this because it eases his loneliness, yetdoesn’t suggest that he has any discernible inner life.
Bening, DeVito, Leigh, and the rest of the impressive cast are game for this madcap mush, doing their best to infuse their characters with off-the-wall spirit., however, doesn’t offer them a single witty line or bonkers situation. Instead, it tumbles down a rabbit hole of dreary encounters and drearier revelations that have to do with-inspired drag shows, wealthy little old ladies, and furtive sexual and romantic affairs.
As for Darren himself, Pine piles on the quirks but never figures out how to synthesize them into a memorably entertaining whole. Whether leaping into bushes, running around nighttime streets, bursting into dressing rooms or surveilling various targets, he’s a half-formed joke in search of structure, purpose, and a punchline.
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