Michael Angarano and Chris Smith’s slice-of-life comedy “Sacramento” – released April 11 – is a raw, authentic look into navigating grief and friendships in adulthood. Set in both Los Angeles and Sacramento, Angarano’s sophomore directorial film is a tour de force in authenticity, a stark contrast to its characters’ desires for escapism.
Despite its titular feature, the city of Sacramento is not a focal point in the plot. As opposed to Greta Gerwig’s 2017 movie “Lady Bird,” “Sacramento” is less a love letter to Sacramento and more a condolence card that masquerades as a humorous postcard from the City of Trees.
The story opens with a romantic montage between Rickey (played by writer and director Michael Angarano) and Tallie (Maya Erskine) after the pair meet while hiking through Sly Park. It is implied that the two have sex, but viewers are left in the dark on the couple’s fate, as the movie time-skips to a year later.
The film shifts focus and location to introduce Glenn (Michael Cera) and Rosie (Kristen Stewart), a married couple in Los Angeles who are on the verge of their first child’s birth. Unlike the fresh-faced couple from the opening scene, Glenn and Rosie have a well-established relationship that feels grounded and authentic – thanks in no small part to the impressive acting from both Cera and Stewart.
Stewart’s subtle facial expressions convey both patience and exhaustion from the soon-to-be mother Rosie, while Cera’s tense body language and stuttering portray a palpable sense of anxiety in Glenn.
Rickey is reintroduced to the story when he shows up unannounced at the door of a less-than-pleased Glenn, who is stated to be Rickey’s best friend. Although Rickey is initially presented as flighty and immature, audiences will quickly learn that both characters have some arrested development to overcome, as adulthood forces impending changes in each of their lives.
Aside from the direct exposition of Glenn and Rickey’s friendship, the rest of the movie strays from spoon-feeding details to viewers via dialogue. Angarano and Smith’s script is refreshingly trusting of its viewers; key plot points and relationship dynamics are divulged carefully and deliberately.
While some may find the slow dispersal of information throughout the film to be stressful, it can also make for a more engaging watch. Every unanswered question keeps the viewer watching to the end, and Angarano’s refusal to oversimplify the story for his audience is appreciated.
Keen viewers will admire the revelation of important character traits through what is said, and more importantly, what is not said. The dialogue is simple and stripped down in pivotal moments, allowing the acting to prevail as characters unveil profound emotional truths.
The dialogue and line delivery also lend to the realism of each relationship, furthering the film’s authentic feel. Glenn and Rickey frequently stutter, interrupt each other and talk over one another, just as real-life friends often do.
“Sacramento” showcases earnest conversations about adult relationships, both platonic and romantic, through strong performances from the entire cast. Rickey and Glenn’s respective struggles to maintain interpersonal connections amidst major life changes are not just believable, they’re almost painfully relatable. Viewers will see parts of themselves in each character, including aspects they may not like.
Cera and Angarano play off one another well, portraying the deep-seated resentment, compassion and codependency that constitute a years-long friendship. Each actor has their respective chance to shine, from Rickey’s vulnerability with Tallie to Glenn’s control-induced panic attacks.
The cinematography feels as intimate as the characters’ friendship, as conversations between the two utilize close camera angles to demonstrate the actors’ subtle expressions. Angarano’s framing is compelling, highlighting emotional breakthroughs with no-frills camera work.
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Although the dialogue and acting were strong overall, the story struggled with its pacing at parts.
When Rickey and Glenn first arrive in Sacramento, they spend a night out with two women who own a wrestling gym in a scene that drags on longer than it should. The night culminates in a dreamlike sequence with specialized lighting and a pop music score that felt more like a music video from the 1980s than a scene from this movie.
As enjoyable as the delayed uncovering of certain details was, the third-act twist felt too late in the story to reveal a major character arc. Tallie reappears in the final 40 minutes of the story, at this point as a frazzled single mother working at Curtis Park institution Gunther’s Ice Cream. She plays a central role in the story, yet her presence is established too sparingly and too late to fully develop her as a character.
Erskine nonetheless showcases exceptional dramatic acting with what little screen time she has. In just two minutes, Erskine’s emotion-ridden monologue elevates Tallie from a somewhat mysterious character to one audiences can empathize with and relate to.
Any frustration felt at Tallie’s insufficient screen time was soon remedied when the closing shot came full circle, with a callback to the movie’s opening scene.
Rickey and Glenn’s parallel growth into emotionally mature and accountable fathers is underscored by a genuine friendship they must actively work to reinvigorate. Angarano and Cera deliver convincing performances through the very end, making the characters’ respective progress all the more impactful.
Angarano’s script is rife with humorous moments, but beneath the laughs, it conveys a genuine plea to viewers that we play a more active role in our relationships. The message of “Sacramento” is clear: you can choose not to face the music of adulthood, but the symphony will keep playing regardless.
