Every once in a while, a movie comes along that is so stupid and so aware of that stupidity that you can’t help but be won over by its charms. It knows exactly what kind of movie it’s trying to be and doesn’t have any pretenses about being “high art.” It knows what viewers are expecting and playfully toys with those expectations, stringing them along on a roller coaster of fun. Ping Lumpraploeng‘s The Pool, which won the special mention award for “Most Fun Movie to See with an Audience” at Fantastic Fest last week, is that movie.

When dog trainer Day (Theeradej Wongpuapan) and his dog Lucky finish their photoshoot at an Olympic-size swimming pool, Day decides to celebrate by spending a relaxing afternoon napping on a raft in the pool. Unbeknownst to him, one of the crew members flips the switch on the pool’s drain, and he becomes trapped as the water level gradually drops. Things escalate slowly at first, seeing Day tear off a fingernail trying to climb up the pool’s wall, but it isn’t long before his girlfriend Koi (Ratnamon Ratchiratham) is knocked unconscious when she dives into the half-empty pool. Oh, and a wild crocodile has somehow become trapped with them as well, further complicating matters. Together, Day and Koi must avoid the crocodile and devise a plan to escape the pool before they die of hunger, thirst, or crocodile.

If you’re going into The Pool expecting realism, you’d best turn right back around. One-setting films usually require suspension of disbelief, but The Pool is on a whole other level. The premise itself is hard enough to swallow, but Lumprapleong does a good job of side-stepping any scrutiny over the logistics of the plot (for example, in Thailand pool ladders are not built into the pool itself, but rather attached with a rope so that they can be pulled out of the water at any time). Still, it does seem odd that there are no safety measures in play for an admittedly unique situation like this. But hey, suspend your disbelief a little more than you’re used to and you’ll be fine. Lumprapleong is fully aware of what he’s asking you to do and the rewards are bountiful, coming in the form of frequent set pieces of escalating bad luck. Because ladies and gentlemen, Day has the worst luck in the world.

In any other movie, these set pieces would seem mean-spirited*, but Lumpraploeng (who also wrote the screenplay) has his tongue planted firmly in cheek. Every possible thing that could go wrong does, to the point where The Pool might as well be called Murphy’s Law: The Movie. At first, these sequences (like the aforementioned fingernail bit) will inspire nervous chatter, but once Day’s cries for help to two pizza delivery guys are muted by an unexpected rainstorm, you can’t help but laugh.

The film’s playfulness, both in terms of structure and tone, reminds one of a Final Destination film (particularly the third one). There’s a Rube Goldberg-ian quality to most of the plot mechanics that, even though you know what the end result will be, there is a sadistic joy in seeing how it gets there. The film is masterfully paced, moving along at a good clip over the course of its 90 minutes. The only real misstep is the film’s opening, which sees Day’s broken leg get chomped on by the crocodile before giving us a “6 Days Earlier” title card. Lumpraploeng employs this gimmick to add tension to the proceedings, but it has the opposite effect.

As for the crocodile, it is a computer-generated creation but it’s not a particularly good one. The majority of the film is set in the daylight, which exposes the cartoonish CGI effects of the creature. You’ll never once think you’re looking at a real crocodile, but it’s not as bad as something you’d see on SyFy. The sound design, however, is top-notch. Every step the crocodile takes lands with a wet squish and every hiss it….hisses…..reverberates through the theater. So even though the crocodile may not look convincing, it sure does sound convincing.

While The Pool may seem like an entertaining little creature feature with no designs on any social commentary, it actually has a conservative through-line that is evident in every scene. Lumpraploeng’s film is a pro-life movie disguised as an aquatic horror movie. Koi is pregnant, but Day wants her to have an abortion. It’s easy to see what’s going on here: Day is being punished over and over again for wanting Koi to have an abortion since the operation is only legal in Thailand if there is a health issue or if the fetus is a product of rape or incest. Abortions cannot be performed upon request and, as in many religions, it is considered a sin. It’s a difficult theme to ignore since it features so prominently in the plot, but it feels out of place to put such a heavy subject in an otherwise silly film.

Politics aside, The Pool is still a ridiculously fun time at the movies. There is a self-awareness built into every frame that is endearing from the start. You’ll either be with it or you won’t be, depending on how you react to the premise alone. If you’re with it, you’ll be in for one of the most enjoyable theatrical experiences you’ll have this year.

*SPOILER ALERT/TRIGGER WARNING: As the programmer introducing the film warned our audience before The Pool started, Lucky the dog is not, in fact, lucky. His death is one of the more cruel and extended animal death sequences I have seen in a film, but it does actually serve a purpose to the plot so it can’t be called gratuitous. Nevertheless, I thought it would be beneficial for you to know what you’re in for if you decide to check out The Pool whenever it gets released.

The Pool had its Texas Premiere at Fantastic Fest and is currently seeking U.S. distribution.