Cake Gimmick Falls Flat: Friendship Saves the Film

The opening scene of Sitting in Bars with Cake is a snapshot of pure, unfiltered joy: Yara Shahidi‘s Jane, a shy baker, nervously places a homemade cake on the bar counter, her hands trembling as she watches it slide towards the patrons. It’s a moment that should be heartwarming, but instead feels forced.

Based on Audrey Shulman’s 2016 book and inspired by true events, Trish Sie’s film follows Jane and her extroverted best friend Corinne (Odessa A’zion) as they embark on a year-long experiment: bringing cakes to bars to help Jane build confidence. The premise is charming in theory, but the execution stumbles. The cake gimmick, meant to be the film’s organizing principle, often feels like an afterthought rather than a driving force. Scenes of Jane baking or presenting her creations lack the emotional weight they should carry, making them feel more like obligatory check-ins than meaningful moments.

What saves the film are the performances. Shahidi and A’zion share an electric chemistry that breathes life into the material. Their friendship is the heart of the film, and when Corinne receives a brain cancer diagnosis, their dynamic shifts from whimsical to deeply poignant. A’zion, in particular, shines in her portrayal of Corinne’s struggle with illness, balancing vulnerability and resilience with nuance. Even Bette Midler, in a smaller role as talent agent Benita, adds a layer of warmth and humor that elevates the film.

However, the narrative structure falters when it tries to balance romance, comedy, and drama. The romantic subplot involving Jane’s crush on lawyer Owen (Rish Shah) feels underdeveloped and tacked on, lacking the emotional depth needed to resonate. The film also struggles with pacing, particularly in its second half, where the cakebarring experiments feel repetitive and the cancer storyline takes center stage without sufficient build-up.

The production design and cinematography are solid but unremarkable. The Los Angeles backdrop is well-utilized, with a mix of trendy bars and cozy neighborhoods that ground the story. However, the film’s visual style lacks distinctive flair, making it blend into the sea of mid-budget rom-coms and dramas.

Sitting in Bars with Cake has its moments of genuine emotion and humor, but it’s ultimately held back by a gimmicky premise and uneven storytelling.

The film’s attempt to blend multiple genres—romance, comedy, and drama—results in a tonal whiplash that undermines its emotional core. The shift from lighthearted cakebarring adventures to the heavy themes of cancer and mortality is jarring, and the film never fully commits to either tone. This inconsistency makes it difficult to invest in the characters’ journeys, as the narrative pulls in too many directions without a clear sense of focus.

One of the film’s strengths lies in its exploration of friendship and female solidarity. The bond between Jane and Corinne is authentically portrayed, capturing the complexities of their relationship—supportive yet fraught with challenges. However, the film’s handling of Corinne’s diagnosis feels rushed, as if it’s trying to cram a lifetime of emotional beats into a few key scenes. This hurried approach robs the story of the depth and nuance it deserves, making the emotional payoff feel less earned.

The supporting cast adds depth to the narrative, with standout performances from Ron Livingston as Fred and Maia Mitchell as Liz. Their interactions with Jane and Corinne provide moments of levity and warmth, but these characters are often sidelined in favor of the central duo’s antics. The film’s reliance on familiar tropes—such as the shy girl finding her voice and the extrovert facing a life-altering crisis—further hampers its originality.

In terms of direction, Trish Sie demonstrates a keen eye for capturing the nuances of human relationships but struggles to maintain a consistent tone. The film’s pacing issues are evident in its second act, where the cakebarring experiments become repetitive and fail to build tension or emotional stakes. The transition from lighthearted comedy to heavy drama is handled with sensitivity, but the abrupt shift leaves the audience struggling to keep up.

Sitting in Bars with Cake is a film that tries to do too much, ultimately falling short of its potential. While it boasts strong performances and moments of genuine emotion, its gimmicky premise and uneven storytelling prevent it from achieving the depth and resonance it aims for. The film’s reliance on familiar tropes and its failure to commit to a single tone make it a forgettable entry in the rom-com-drama genre.

The film’s exploration of themes such as friendship, self-discovery, and resilience is commendable, but it lacks the depth and nuance needed to fully explore these complex issues. The cakebarring premise, while initially charming, becomes a hindrance rather than a help, as it often feels forced and disconnected from the emotional core of the story.

Sitting in Bars with Cake is ultimately a film for fans of rom-coms and dramas that prioritize heart over substance.