Review of 'Sacramento': Reading, awkwardly, on a road trip

Since the “Road To” series through Buddy's action movies and jokes, male friendship as comic fodder has been a constant attraction, one that has increasingly favored immaturity as catharsis. Smart Plus Stupid became stupid hates intelligence, until Dumb felt omnipresent.

In recent times it has become exhausted to see the adult men who laugh, which makes the actor become the comedy of the old steps in the actors crisis has become a writer the film explores what is fun, and terribly sincere, about being torn in adulthood.

Angarano, who wrote the script with actor Chris Smith, also stars Rickey, a happy Manchild who appears in the house of Los Angeles, Bestie Glenn, played by Michael Cera, to convince him that it is time to hang out more deeply. This unnoticed visit occurs after we just tested who Glenn is: a loving but nervous, nervous and needy husband for his very pregnant wife, Rosie, played by Kristen Stewart with such an inexpressive conjugal sobriety, is a master class in daily tolerance that under genuine love. (With Glenn, he clearly has a chance of making a little mormor).

Rickey would prefer that they went back on a nostalgia tour of laughter and spree: he has even found the tan Chrysler Lebaron in which they used to ride. Glenn is reluctant to go back, much less consent to the peculiarities of the personality that is overcome because paternity expects. Immediately, the perfectly (my) matched Angarano and wax do skilled work with the underground current in their uncomfortable meeting. Rickey's energy is harmless, but it seems mysteriously hurt by unsatisfied expectations, since when Genn gently ammonmic: “loosen, you have not said anything fun.” Meanwhile, Glenn's critical attitude is his own worrying mask. He likes to remind people who keep his phone in silence to “keep present.”

However, the tension facilitates when Rickey finally opens due to his father's recent death; He wants Glenn to travel with him to the city of the title for an extension of ashes. Glenn is that a real adult supports someone who needs it, after all. But we know that something is underway when, far from Glenn's eyes, Rickey quickly empties a tin of tennis and filled it from the side of the road.

For a good time, rivers laugh in “Sacrament” derives from the eccentric clash of priorities and temperaments of certain type of limbo whose sociability skills have been grated. Whether falsifying or barhop with women or trying to psychologize, none of others really knows what is fun or illuminating. They are only soaking on the overwhelming weight of imminent responsibility. Rickey, all forced smiles and performative bidernity, wants to enchant his way in wonderful indecision, while Glenn, a classic classic of unwanted trust, becomes an illusion of control over his destiny.

But when Rickey's real dilemma is revealed, an abandoned relationship with an old adventure (Maya Erskine), the sense of humor of the film is also transformed into a affectionate study, even slightly scary in self -deception. The comic of salt and vinegar from Erskine and the unvolved soul is a national treasure. Fortunately, her real -life husband (Angarano) appreciates this and looks wonderfully marked why the dose of her meaningless character of the frankness of the third act should be the triggered sincerity necessary to bring “sacrament” to a credible conclusion (but not less pleasant).

The film is also intelligent enough to recognize that their women are not there to save anyone, just to remember these well -intentioned men about overcoming. The spiny comedy of the collapse of the personality of the male pattern gives way to wisdom, something that “sacrament” has in abundance.