Sacramento is the latest from writer, director, and actor Michael Angarano (Oppenheimer, This Is Us). A quirky indie-comedy about fatherhood and friendship, the film tells the story of Glenn (Michael Cera), a thirty-something soon-to-be father who learns that his long-time once-best friend Ricky’s (Angarano) father has recently passed away. In order to honour his deceased dad’s legacy, Ricky implores Glenn to join him on an impromptu road trip to Sacramento. While there, they will scatter his father’s ashes. Of course, this is all a ruse so that Ricky can try to win back his best friend and gather support for the difficult challenges ahead of him; challenges not unlike the ones Glenn faces himself.
It’s a simple enough premise that allows the filmmakers to explore both the way parenthood can change one’s relationships, and the way friends can all too easily drift apart. The problem with the film is that it’s never quite clear on what it is trying to say about any of these things. Yes, there are plenty of laughs along the way—some at the expense of Ricky’s slacker personality, but most due to the perfectly-honed comedic chops of Michael Cera—but the more emotional elements have a tendency to fall flat. Without spoiling the third act’s denouement, it never feels as though the film entirely earns the emotional pay off that it attempts to deliver. It never fully unpacks the fears and anxiety that parenthood can bring, nor the overwhelming joy. While the final epilogue makes it clear our characters have overcome these obstacles, it does so so briefly that it feels entirely perfunctory.
Cera is the star of the show here, bringing his trademark “fish out of water” awkwardness he perfected in Arrested Development and Juno. He steals every scene he’s in, while completely overshadows Angarano. As for Angarano himself, he brings a manic energy that plays well against Cera’s neuroses, and he does manage to ride that ever so thin line between obnoxious and charming. He handles the comedy well enough, but unfortunately he struggles with the more emotional beats. For a film that relies so much on the interplay and chemistry between its two characters, that chemistry is never fully explored.
Kristen Stewart (Twilight, Spencer) is criminally underused as Cera’s pregnant wife Rosie, and is relegated to just a few scenes. She leaps off the screen in every single one, though, and once again proves she is an acting force to be reckoned with. Similarly, Maya Erskine (Pen15, Mr. & Mrs. Smith) shows up for the final act and delivers a compelling, nuanced, and honest portrayal of the struggles of motherhood. It’s a shame we get so little time with her, especially since her character is perhaps the most interesting, well rounded, and complex of the bunch. It also comes as no surprise that her chemistry with Angarano is much stronger than his with Cera; as Angarano’s real-life partner the interplay between them both is palpable. It’s just a shame we get so little of it.
Perhaps the film’s biggest failing is in its production design and cinematography. Far too often the film looks flat and feels lifeless. While I understand the desire to keep the focus on the narrative and the dialogue, the overall look of the film can at times be distracting. What few stylized moments there are feel out of place and at odds with the rest of the film, ultimately doing the overall production a disservice.
Thankfully, the film avoids the recent trend of indie-comedies overstaying their welcome; at a tight 89 minutes, it never feels too long, and allows for a high joke-to-runtime ratio. Perhaps it was the filmmakers desire to bring the film in at under 90 minutes that ultimately worked against them, never allowing the film to properly explore the emotional moments at the heart of the story. While I’m glad the film moves quickly, there’s no denying that it left me wanting more.
Ultimately, Sacramento aims to be a touching portrait of friendship, fatherhood, and the challenges inherent in both. There’s plenty of laughs along the way, but the overall impact of the film is let down by its lack of visual finesse, muddy message, and weaker emotional beats.
Sacramento is now playing in theatres.
