Road Trip Comedy ‘Sacramento’ Runs Out of Gas

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Michael Angarano’s ‘Sacramento’ starts off appearing as if it were a theatrical performance filmed on screen, but later transforms into an exercise showcasing an actor’s vanity.”

This version maintains the original meaning while making it easier for readers to understand and follow.

Ricky (Angarano), a perpetual immature adult, has drifted away from his longtime companion, Glenn (Michael Cera). It takes him aback when Ricky unexpectedly appears at his doorstep after a significant period of separation.

In a more relaxed phrasing, we could say that while Rickey tends to drift along and sometimes assume a dominant role in therapy discussions, Glenn is finding it challenging to stay composed as the anticipation of a newborn child is placing significant pressure on him.

Kristen Stewart’s character, who is heavily pregnant and feeling both sympathetic and exasperated towards Glenn, grants him permission to travel with Rickey to Sacramento for the purpose of scattering the remains of a deceased relative’s ashes.

As a movie enthusiast, I had the chance to be part of the creative process behind this film, serving as its star, director, and co-writer alongside Chris Smith. What we’ve crafted here is essentially a road trip movie. However, it seems that the comedic road movie subgenre has taken a detour, veering away from the humor found in films like “Due Date” and “Kodachrome”. This production unfortunately doesn’t quite reach those levels of amusement.

The big twist is easy to guess immediately, and it often feels like a sitcom without a laugh track.

The release of the film isn’t ideal for Angarano, as “Sacramento” bears a striking resemblance to a recent and significantly superior comedy/drama that won Kieran Culkin an Oscar; if “A Real Pain” had the power to establish its own genre, this would be the movie.

The timing of the film’s premiere is unfortunate for Angarano, as “Sacramento” shares a strong resemblance with a recent and notably superior comedy/drama that earned Kieran Culkin an Oscar; if “A Real Pain” could create its own genre, it would be this movie.

While “A Real Pain” was soulful and never overly demanding, this film feels more clingy. Both movies revolve around an aged, difficult-to-like companion who pushes the boundaries of a loyal best friend during their journey together. In contrast to Culkin’s character in “A Real Pain,” I didn’t find myself pleased about being saddled with Angarano’s Rickey.

In a refreshing improvement, Cera’s portrayal of Glenn stands out more distinctly, as the character traits are more sharply defined (I appreciated the subtle detail where Glenn wakes up in a single mom’s apartment following a late night and promptly cleans it for her). However, both Glenn and Rickey can be somewhat grating.

Instead of creating a potent, odd-couple pairing, they cancel each other out.

Stewart masterfully chooses the appropriate tone for each scene, giving the impression that they were all shot on the same day. Regrettably, Rosalind Chao, a truly exceptional actress (who could have been an Oscar nominee for “The Joy Luck Club”), is underutilized in her early role.

There’s a sequence showing Glenn and Rickey wrestling after drinking, which probably seemed amusing during filming. However, as time goes on, it turns out to be quite challenging to watch, much like the scene itself.

Cera’s followers might show greater understanding, yet it’s still a significant distance from his most successful projects. For example, consider “Nick and Nora’s Eternal Mixtape” or “Scott Pilgrim vs. The Unending Playlist”.

In the third act, the believability of “Sacramento” crumbles, as events unfold in an implausible manner that’s supposed to be darkly amusing but falls flat. The script then asks us to accept a shocking act of child kidnapping, which strains credulity and damages character development.

It’s at that point that “Sacramento” goes from being overly mild to downright awful.

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As a cinema enthusiast, I appreciate Angarano’s effort in crafting a film that underscores compassion towards those who find themselves in challenging circumstances. However, much like the legendary Roger Ebert once said, “The trouble with this movie isn’t its theme, but my persistent wish for these characters to mature more swiftly.

As a film enthusiast, I found myself reflecting on the complexities of friendship while watching this movie. The characters in this narrative seem oblivious to the importance of balancing connection with respect for personal space and time constraints. It’s a fascinating exploration of unconventional friendships, yet one that may strike a nerve for those who value the delicate dance between staying close and giving each other room to breathe.

Their shenanigans are hard to watch.

A common cliché reflects my overall sentiment towards the movie. Following Rickey’s yet another uplifting remark (such as “anger is just unresolved sadness”), he asks for forgiveness. However, in response, I find myself saying, ‘I’m sorry, but your words don’t resonate with me.’

Yep, me too.

One and a half stars (out of four)

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2025-04-11 23:03