Reaching your thirties is the unquestionable marker to be officially labeled an adult. Ta-da welcome to maturity, no longer referred to as a kid, even among friends, but also, you’ve not aged long enough for people to seek your counsel. With that, is to also add the unwritten social demand that by the time you have reached your thirties that you have figured things out and have settled into your life-you are established. Each generation has that marker film that addresses the transition to complete adulthood,  for boomers it was “The BIg Chill” , for Gen Xers it was “Reality Bites”, “Sacramento” is attempting to be that for Gen Zers without a killer soundtrack, a tricky feat indeed.   

 Directed, starring Michael Angarano along with written by him and Chris Smith is a soul-searching road trip film about two close friends that drifted apart to reignite their friendship with an impromptu road trip to Sacramento.  The two friends are played by Michael Cera (Glen)  and Angarano (Rickey).  Rounding out the cast is Kristen Stewart and Maya Erskine. The indie, small film aesthetic gives it a personal, playful touch to it. The cast is really the main attraction to this. It emits a,” friends just getting together to make a movie feel to it.” And it should be noted that Michael Angarano and Kristen Stewart did date over a decade ago. 

Being so similar to  “A Real Pain”,  many will easily compare it to it. The timing of this film’s release just won’t be able to escape from it happening, and sadly might steer many away from viewing it, even though it does have some of its own endearing qualities. 

Sacramento on the surface projects a light, carefree exploration of friendship, transitions, anxiety, and adulthood, but deeper is actually about the loneliness of experiencing all of that. There is a softness, a charm to this that is enduring in this film, but that can only go so far. I greatly admire that it discusses mental health among males that needs to be brought up to the open rather suppressing it. The minor note play through it, even when it is serious doesn’t quite flush out the story to its full potential.  The subplot of Rosie and Glen’s marriage is so under-appreciated, it felt something really enduring was there that would have elevated the story to something outside of a cliche.  But the real disservice, the real let down here is the script’s desire for wanting the audience to like each and every character in the film. A cardinal sin in screenwriting we all know too well. No one to root against, ergo  there’s no one to really root for.