POMS

US, 2019, 91 minutes, Colour.
Diane Keaton, Jacki Weaver, Celia Weston, Alicia Beau, Charlie Tahan, Rio Coleman, Phyllis Somerville, Pam Grier, Bruce Mc Gill.
Directed by Zara Hayes.

Whatever happened to Annie Hall? Of course, she had a long topline in career as Diane Keaton. But, on the evidence of Poms, she has been overdosing in recent decades on the Bring It On movie series, that range of popular movies for teenagers spruiking recruits for cheerleading. Which means that the Poms in the title does not refer to the British but rather to pom-poms from the cheerleading paraphernalia. (Maybe Bring It On 41 - or more - could be an alternate title for this film!)

This is senior cinema. Or, perhaps, it could be referred to as cinema for seniors – and it was released around Mother’s Day, a number of bloggers noting that they took their mothers to see it and a happy time was had by all.

So, here is Diane Keaton over 40 years since Annie Hall playing variations on the theme. At time of filming, Diane Keaton was 72 – but, in the final cheerleading sequences, she reminds audiences that agility from many at age 72 is not impossible.

She plays Martha, a frustrated older woman who had spent a lot of years looking after her mother who suffered from cancer. Now she has been diagnosed with cancer herself. She packs up, sells her belongings on a street market, gets in her car and drives to Georgia, to a rather lavish retirement village (spacious, comfortable single houses, golf courses, pools (indoor and outdoor) where she is greeted by a welcoming committee, Celia Weston playing, Vicki, the obnoxious manager and leader of The Southern Belles. And everybody is expected to join a club or, failing that, create one of their own.

Martha can be agreeable and, at times, she can be prickly. This is immediately tested by her neighbour, Sheryl, who is ultra-extroverted, cheeky and indiscreet. This is a top co-starring role for Jacki Weaver (who needs fewer rehearsals to play this kind of character). Despite a difficult beginning, the two women become friends and Martha decides, to compensate for lack of cheerleading progress in her past, to create a cheerleading club. Vicki and her followers vote against it – but the two friends audition a number of women who have music and movement talent who have ben judged to be past their use by date. There is Pam Grier who used to be that tough African-American? crime fighter in the 1970s. There is Rhea Perlmann, forbidden to audition over his dead body – which becomes rather literal.

And, of course, plot-formula steps in, playing to an audience which enjoys the formula and seeing how it works out. Can this group of women at 70+ years of age enter a cheerleading competition and be successful (not necessarily winning but certainly engaging audience exuberance)?

They rehearse, list their ailments, the sharp opposition by one of the women’s selfishly-protective son, engage one of the school cheerleaders to coach them, try out at the school to their humiliation (and a clip of their performance going viral on the Internet), Martha not telling anyone about her terminal illness.

So, can they be successful? Of course, they can. And we, the audience, especially those not as young as we used to be, share their enthusiasm, their performances, their overcoming any prejudices of the young. Senior cinema – but also reassurance for, perhaps, an apprehensive next-generation, and some enthusiasm for younger audiences who appreciate grandparent success.

Not made for awards but for an entertaining night out (and some propaganda on behalf of oldies living a more active and healthy life).


1. Senior cinema? Cinema for seniors? Cinema for the apprehensive next-generation? Sympathetic response of grandchildren?

2. The popular formula, audiences enjoying it?

3. Cheerleading in the United States, the reality, sports events, movies about cheerleading? Competitions?

4. A film to encourage the elderly, those unwell, not giving up?

5. Diane Keaton as Martha, memories of Annie Hall, packing up, selling her stuff, the customers? Her story, childhood, ambitions, caring for her sick mother? Looking at her photo? Her age, cancer, resignation? Cancelling her doctor’s appointments?

6. Transferring to Georgia, the drive, set Centre? The Greeting Committee, Vicki and Her control, the Southern Belles? Introduction to Chief Carl and to Doris? The tour, the lavish grounds, Golf Courses, Pools? Her house?

7. Sheryl, Intruding, Cheeky? Extroverted, the noise next door, Martha calling Carl, Sheryl Invitations, hiding in the house? The discovery of Bend living in Sheryl’s house, grandson? Sheryl in the invitations, going to the funeral wakes with all the free food? Sheryl going to the school, the sex classes on video? The clash with Chloe?

8. The idea to form the group, everybody belonging to a club, Cheerleaders Club, Martha and her memories? Submitting the idea to Vicki and the committee, being turned down?

9. The auditions, the range of women, their skills, Agility? Alice, the visit, her reluctance, Asking her husband, over his dead body, the immediacy of the funeral? Alice and a change of manner, making up for lost time? But still awkward in the movements?

10. Vicki, control, forbidding the hall? Sheryl’s idea, blackmailing Martha to teach Ben to drive? Going to the school?

11. The range of rehearsals, listing the ailments, going to the school, the performance, the accidents, the video, going viral? Their reactions? Helen and her injury, the harsh visit of her son?

12. Blaming Chloe, going to her house, the extravagant party, Chloe’s apology, agreeing to be the coach, the consequences? Ben, crashing into Chloe’s car? Playing the Music, attracted to Chloe reserved? The range of moves, the exercise regime and, looking at themselves in the mirror and declaring what they liked about themselves?

13. The buildup to the competition, Martha and her collapse, illness, Sheryl persuading her to go?

14. The enrolment for the competition, hiring the bus, deceiving Vicki, Carl with Vicki in the cart and avoiding Vicki? Carl pulling rank with the organiser not wanting the old women to enter?

15. Going to the competition, the uniforms, the pom-poms, rescuing Helen, her son and his insulting Chloe, Sheryl forcing the apology?

16. The performance, the audience enthusiasm, joining in (the scenes during the final credits)?

17. Martha, exuberance, her death, the advertisement for generals and fireworks? The actual fireworks?

18. The aftermath, one year later, in the competitions, in memory of Martha?

19. A film of hope and vitality?