by Josh Sewell
Derek Cianfrance is typically not a director associated with humorous, feel-good movies. That’s why, on the surface at least, the guy who made Blue Valentine and The Place Beyond the Pines seems like a terrible fit for Roofman, a true story about a smart, kindhearted thief who keeps getting caught because he can’t fully commit to being a bad guy.
However, as the dramedy progresses and reality hits the characters hard, it makes more sense why Cianfrance (who also cowrote the screenplay with Kirt Gunn) was drawn to the material. Even better, he motivates Channing Tatum to deliver his best performance in almost a decade.
Roofman begins with Jeffrey Manchester (Tatum), an Army vet and struggling father, in the middle of a crime spree. He robs McDonald’s locations by cutting holes in their roofs (hence the titular nickname), politely telling employees to put on their jackets and step into the freezer, and then calling the cops to let them out once he’s gone.
He’s eventually caught but quickly finds a way to break out of prison. While the heat dies down, he ends up hiding out in a Toys “R” Us for six months, planning his eventual escape. However, things get a lot more complicated when he falls for store employee Leigh (Kirsten Dunst), a stressed-out single mom.
As Manchester’s double life starts to unravel, he grows increasingly desperate to find an impossible solution. This sets off a suspenseful game of cat and mouse between him a bunch of people – including Leigh, her awful boss (Peter Dinklage), the cops, and a cynical acquaintance (LaKeith Stanfield) who might hold the keys to a clean getaway.
Tatum is always an engaging, charismatic actor, but it takes the right director to draw a truly great performance out of him. Phil Lord and Christopher Miller did it in the Jump Street flicks, Steven Soderbergh pulled it off quite a few times (Magic Mike, Logan Lucky, etc.), and so did the Coen brothers (he’s incredible in Hail, Caesar!). But even the great Quentin Tarantino isn’t perfect – Tatum was profoundly miscast in The Hateful Eight.
Roofman begins with Jeffrey Manchester (Tatum), an Army vet and struggling father, in the middle of a crime spree. He robs McDonald’s locations by cutting holes in their roofs (hence the titular nickname), politely telling employees to put on their jackets and step into the freezer, and then calling the cops to let them out once he’s gone.
He’s eventually caught but quickly finds a way to break out of prison. While the heat dies down, he ends up hiding out in a Toys “R” Us for six months, planning his eventual escape. However, things get a lot more complicated when he falls for store employee Leigh (Kirsten Dunst), a stressed-out single mom.
As Manchester’s double life starts to unravel, he grows increasingly desperate to find an impossible solution. This sets off a suspenseful game of cat and mouse between him a bunch of people – including Leigh, her awful boss (Peter Dinklage), the cops, and a cynical acquaintance (LaKeith Stanfield) who might hold the keys to a clean getaway.
Tatum is always an engaging, charismatic actor, but it takes the right director to draw a truly great performance out of him. Phil Lord and Christopher Miller did it in the Jump Street flicks, Steven Soderbergh pulled it off quite a few times (Magic Mike, Logan Lucky, etc.), and so did the Coen brothers (he’s incredible in Hail, Caesar!). But even the great Quentin Tarantino isn’t perfect – Tatum was profoundly miscast in The Hateful Eight.
We can now add Cianfrance to the list of filmmakers who know how to utilize the actor’s specific talents. Although Manchester is profoundly flawed, he’s also a human Golden Retriever. It’s a perfect fit for Tatum, especially in the movie’s lighter first hour, when he gets to be silly and charming. However, he’s also great in the more somber second half, when the consequences of Manchester’s actions come crashing down on him.
Dunst is compelling too, playing the straight woman forced to be the responsible parent while Manchester gets to be the goofy new boyfriend who wins over her daughters with enthusiasm and presents. Sure, it’s fun for a while, but you could see how that level of energy could grow tiring eventually.
It’s also a nice surprise to see Ben Mendelsohn, who’s usually typecast as slimy villains, play a genuinely decent guy for once. Unfortunately, the rest of the supporting cast gets squandered in roles that are either one-note or so brief they don’t make much of an impact.
Dinklage doesn’t get anything to do other than play a jerk (although, to be fair, he is responsible for the movie’s funniest reaction shot), while Stanfield’s character is intriguing but barely factors into the story. But poor Juno Temple and Uzo Aduba are wasted in what are essentially glorified cameos.
As I alluded to earlier, the biggest flaw of Roofman is that Cianfrance and Gunn never quite figured out whether they wanted to make a romcom, a heist caper or a crime drama. Although the story is really fascinating, it feels like a bunch of different movies battling for tonal dominance.
Dunst is compelling too, playing the straight woman forced to be the responsible parent while Manchester gets to be the goofy new boyfriend who wins over her daughters with enthusiasm and presents. Sure, it’s fun for a while, but you could see how that level of energy could grow tiring eventually.
It’s also a nice surprise to see Ben Mendelsohn, who’s usually typecast as slimy villains, play a genuinely decent guy for once. Unfortunately, the rest of the supporting cast gets squandered in roles that are either one-note or so brief they don’t make much of an impact.
Dinklage doesn’t get anything to do other than play a jerk (although, to be fair, he is responsible for the movie’s funniest reaction shot), while Stanfield’s character is intriguing but barely factors into the story. But poor Juno Temple and Uzo Aduba are wasted in what are essentially glorified cameos.
As I alluded to earlier, the biggest flaw of Roofman is that Cianfrance and Gunn never quite figured out whether they wanted to make a romcom, a heist caper or a crime drama. Although the story is really fascinating, it feels like a bunch of different movies battling for tonal dominance.
Nevertheless, Roofman is still compelling – and original! – enough that it’s worth checking out on the big screen. I don’t think it’s going to be the awards contender everyone involved is hoping for, but it’s always nice to see good actors in an interesting flick. There are certainly much worse options out there.
Roofman is rated R for language, nudity and brief sexuality. Opens in theaters on October 10.
Grade: B
Roofman is rated R for language, nudity and brief sexuality. Opens in theaters on October 10.
Grade: B
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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