Roofman

Few will likely take issue with the notion that “Crime doesn’t pay.” And that idea rings even more true if restated as “Crime doesn’t pay if you’re a nice guy.” That’s one of the truths that emerges loud and clear in this fact-based comedy-drama about soldier-turned-thief Jeffrey Manchester (Channing Tatum), who had trouble finding his way (and making ends meet) after leaving the military. Set in North Carolina in 2004, this young husband and father is greatly troubled by his inability to adequately provide for his family. His solution is to turn to a life of crime, specifically drawing on his uncanny knack for being able to spot details in opportunities and exploit them to his advantage. He specifically targets fast food restaurants, gaining access by breaking through the roofs of these businesses and dropping in to swipe whatever cash is on hand, generally just before they open for the day. He treats the skeleton crews typically on duty at that time with his signature polite, apologetic courtesy and kindness before stealthily making off with the loot. His stash adds up quickly and substantially – that is, until one time when he’s caught, convicted and thrown into prison. But that proves to be a mere detour, promptly escaping and going on the run, skillfully taking refuge behind the scenes in a Toys ‘R’ Us store. However, his stay turns out to be longer than anticipated, and, with that kind of time on his hands and a natural inclination to want to be helpful to others in need, he unwittingly becomes distracted. This leaves him vulnerable to being discovered and recaptured, especially when his Samaritan side surfaces in doing right by others. That’s especially true when he takes a liking to Leigh Wainscott (Kirsten Dunst), a genial but challenged single mother of two who works at the store and who falls hard for his charms, unaware of who he really is. Can Jeffrey keep up the ruse? Or will he fall victim to his naturally compassionate and generous tendencies? As endearing as this crowd-pleasing story might sound, though, it’s somewhat uneven (and at times innocuous) in its execution. For instance, it’s difficult to fathom how someone so allegedly nice could simultaneously be capable of such dubious behavior (especially when viewers never really get to find out how he got that way). Then there’s the film’s tendency to downplay the seriousness of the protagonist’s actions in light of the picture’s predominantly frothy narrative. And the love interest story thread – no matter how charming it might be at times – is given too much weight in the overall flow of the movie. With that said, though, there are definite strengths present here, too, particularly in this offering’s depiction of a hardened criminal hiding out in the whimsical environment of a toy store, the aspect of the film that truly works best (and should have received greater focus). The wacky juxtaposition of these disparate elements evokes many hearty laughs, especially in the segments where the protagonist must inventively look for ways to keep from being found out, most notably by the facility’s surly store manager, Mitch (Peter Dinklage). In all, though, while “Roofman” makes for a modestly entertaining diversion, it would have fared better by playing to its strengths more and scaling back the less engaging romantic subplot, sequences that tend to slow the pacing and detract from what actually works best. Indeed, try as writer-director Derek Cianfrance might, there’s simply no getting away with that.

FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/roofman-review-a-hilarious-heartfelt-look-at-crime-and-redemption-on-the-rooftop/

"Roofman is an absolutely hilarious piece of entertainment for a broad audience, but it stands out for its ability to intertwine the unusual nature of a true story with a profound reflection on the human condition.

Through the excellent performances of Channing Tatum and Kirsten Dunst — a duo whose chemistry surprises and enriches Jeffrey's journey for redemption and Leigh's quest to repair her home — the movie transcends simple situational comedy. It addresses, with sensitivity and boldness, the duality between illicit acts and the benign motivations that drive them, forcing us to question our own value system and how society defines virtue.

It's a testament that even in the most unlikely and criminal circumstances, the search for affectionate connections and a worthy purpose is universal and undeniable."

Rating: B+

Read full review on Substack: https://open.substack.com/pub/mrknowitall/p/roofman-late-watch-review?r=3o4n7&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

You’d be forgiven for thinking Roofman is a straight-up comedy. The trailer sells it like a goofy, high-energy Channing Tatum caper, but the movie itself has a very different heartbeat. What starts out looking like a lighthearted crime comedy slowly reveals something more grounded, more emotional, and far more human.

Director Derek Cianfrance (of Blue Valentine fame) uses humor as the bait and heartache as the hook. Once you realize what kind of movie you’re actually watching, the tone shift hits hard—in the best way. It’s still funny, often charmingly so, but it’s also unexpectedly sincere, filled with character moments that linger.

Channing Tatum gives one of his most balanced performances yet, mixing his usual effortless charisma with real vulnerability. Kirsten Dunst, Peter Dinklage, and a surprisingly deep supporting cast round things out beautifully.

Roofman isn’t the crowd-pleasing comedy the marketing promised, but it might just be something better: a heartfelt story about second chances, connection, and the mess we make trying to hold onto both.

Know-It-All Index: 8/10

Read the full review now on Substack to see why this late-watch surprised me in all the right ways.

Channing Tatum manages his own brief homage to “Risky Business” (1983) in this story of a robber who gets apprehended after raiding his umpteenth McDonalds to pay for a nice house in which he can entertain his now divorced wife and young daughter. Sentenced to spend pretty much the rest of his life behind bars, he concocts quite a clever wheeze to escape and then an even smarter one that sees him hide out in a local toy superstore managed by “Mitch” (Peter Dinklage). Now fortunately, this guy isn’t so hot on stock control and so “Jeffrey” is able to disable the security system and pretty much pig out on chocolates for weeks on end. Of course, this all goes a little too smoothly, he gets a bit bored and is soon tempted by the lights of the outside world. After overhearing a bah-humbug conversation in the manager’s office, he takes some “borrowed” toys to a local church for it’s sale and encounters “Leigh” (Kirsten Dunst) who works in the store, is trying to bring up two daughters and struggling to make ends meet. Quickly his trips out become more regular and their friendship blossoms, but he still hasn’t any money. How to solve that problem risks everything, but can he pull it off? Tatum is on good form here and the fact that much of this is based on events that really happened adds a bit of richness to a story that occasionally beggars belief, has a little of the “Robin Hood” to it and presents us with a criminal who is largely likeable enough for most of this amiable love story. Dunst also works quite well and there’s some simple, unsophisticated, comedy throughout this film. It is far too long, though, and we could easily lose twenty minutes from the front and maybe explain a little more at the rushed conclusion, but it’s still quite a fun couple of hours of entertainment.

(CASTELLANO)
Un ladrón raro, listo para unas cosas y tontísimo para otras

Me resultó entretenida porque la historia real es tan increíble que ya entra sola. Jeffrey Manchester es un personaje rarísimo: ingenioso, simpático a ratos, muy hábil para improvisar e incapaz de medir consecuencias. Roba entrando por tejados, se esconde donde nadie esperaría, parece tener recursos para sobrevivir a cualquier situación y luego toma decisiones personales tan torpes que acabas desesperándote con él.

La película tiene algo de comedia criminal, drama romántico raro y retrato de un perdedor que se cree más dueño de su vida de lo que es. No la vi como un gran peliculón, pero sí como una historia amable, curiosa y fácil de seguir. Tiene ese punto de "esto no puede haber pasado" que engancha, y Tatum funciona muy bien porque hace creíble a un tipo con carisma, candidez e irresponsabilidad gigantesca.

Me gusta que el personaje no sea presentado solo como un ladrón encantador. La película intenta que caiga bien, sí, pero también deja ver que está fatal. Lo del dentista resume muy bien su manera de actuar: busca una salida rápida, cree controlar la situación y acaba provocando un desastre mucho mayor. No es malvado en el sentido más oscuro, pero sí temerario, egoísta y peligroso por esa forma infantil de pensar que todo se puede arreglar sobre la marcha.

Tatum carga con casi toda la película y está muy bien. Tiene una simpatía natural que ayuda a entender por qué la gente baja la guardia con Jeffrey. Al mismo tiempo, debajo de esa sonrisa hay algo triste y descolocado. No llega a ser un retrato durísimo de un criminal, porque la película suaviza bastante sus aristas, pero sí consigue que el personaje tenga una rareza humana reconocible.

Kirsten Dunst aporta muchísimo. Su Leigh no es solo "la mujer que aparece para que el ladrón tenga una vida normal", sino alguien con cansancio, inteligencia y heridas propias. Me gustó especialmente cuando se nota que ella ya ha atado cabos y le tiende una trampa. Ahí la relación cambia: ya no estamos solo ante él ocultando su secreto, sino ante ella entendiendo más de lo que dice.

La química entre los dos es de lo mejor. No porque uno quiera que todo les salga bien sin más, sino porque hay algo incómodo en esa relación. Él necesita ser querido, necesita inventarse una versión aceptable de sí mismo, y ella quiere creer en una posibilidad de calma, aunque empiece a notar que algo no encaja. Esa parte sentimental a veces se alarga, pero evita que sea solo una sucesión de anécdotas criminales.

El problema es que Cianfrance no parece querer ensuciarse demasiado. La historia tenía elementos más oscuros, incómodos y contradictorios, pero la película prefiere muchas veces el tono amable, melancólico y casi capriano. Eso la hace agradable, pero también le resta profundidad. Manchester era fascinante porque podía ser divertido y desesperante, tierno y manipulador, listo y estúpido. La película toca todo eso, pero no siempre se atreve a apretar.

Vivir escondido en un Toys "R" Us es lo más cinematográfico. Tiene algo absurdo, infantil y triste: un adulto fugado, rodeado de juguetes, sobreviviendo como un fantasma dentro de una tienda. Esa imagen resume al personaje: alguien que se esconde en un lugar asociado a la infancia mientras huye de responsabilidades adultas. Ahí la película encuentra una metáfora sin ponerse solemne.

Me gustó que no sea solo una película de robos. Los atracos importan, pero no tanto como la incapacidad de Jeffrey para cortar con su pasado. Cuando ya está fuera del estado y podría desaparecer, vuelve. Y ahí es cuando te dan ganas de gritarle. Le han dicho que se olvide de lo anterior, que empiece de cero, que no mire atrás, pero él no puede. Su caída no llega porque la policía sea brillante, sino porque él mismo sabotea su huida.

Ese es el punto más interesante: puede ser muy listo para abrir techos y esconderse, pero es torpe para vivir. Tiene imaginación para el delito, pero no madurez para la libertad. Y esa contradicción hace que la película sea más atractiva que un simple "criminal simpático basado en hechos reales". Aunque también es verdad que podría haber sido más dura con él, más incómoda, menos dispuesta a proteger su encanto.

Al final, me queda como una película buena, simpática y limitada. Se ve con gusto, tiene una historia real potentísima, Tatum está muy bien, Dunst suma muchísimo y hay momentos con humor, ternura y cierta inquietud. Pero también se queda algo blanda y no explora todo lo jugoso del personaje. Me interesó, me entretuvo y me dejó pensando en lo raro que era este hombre, aunque no me parece una obra redonda.

(ENGLISH)
A strange thief, smart at some things and incredibly stupid at others

I found it entertaining because the real story is so unbelievable that it already carries the film by itself. Jeffrey Manchester is a very strange character: resourceful, likeable at times, very good at improvising and unable to measure consequences. He robs by entering through roofs, hides where nobody would expect, seems able to survive any situation and then makes such clumsy personal decisions that you end up desperate with him.

The film is part crime comedy, part odd romantic drama and part portrait of a loser who believes he controls his life more than he really does. I did not see it as a great film, but I did see it as a pleasant, curious and easy story to follow. It has that "this cannot have happened" quality that hooks you, and Tatum works very well because he makes credible a man with charisma, innocence and enormous irresponsibility.

I like that the character is not presented only as a charming thief. The film tries to make him likeable, yes, but it also lets you see that he is not right. The dentist scene sums up his way of acting very well: he looks for a quick way out, believes he controls the situation and ends up causing a much bigger disaster. He is not evil in the darkest sense, but he is reckless, selfish and dangerous because of that childish way of thinking everything can be fixed on the go.

Tatum carries almost the whole film and is very good. He has a natural sympathy that helps you understand why people lower their guard with Jeffrey. At the same time, beneath that smile there is something sad and displaced. It does not become a very harsh portrait of a criminal, because the film softens his edges quite a bit, but it does give the character a recognizable human oddness.

Kirsten Dunst brings a lot. Her Leigh is not just "the woman who appears so the thief can have a normal life", but someone with tiredness, intelligence and wounds of her own. I especially liked when it becomes clear that she has put the pieces together and is setting a trap for him. There the relationship changes: it is no longer just him hiding his secret, but her understanding more than she says.

The chemistry between the two is one of the best things. Not because you simply want everything to go well for them, but because there is something uncomfortable in that relationship. He needs to be loved, needs to invent an acceptable version of himself, and she wants to believe in the possibility of calm, even as she begins to notice that something does not fit. That sentimental side sometimes stretches, but it prevents the film from being only a string of crime anecdotes.

The problem is that Cianfrance does not seem to want to get too dirty. The story had darker, uncomfortable and contradictory elements, but the film often prefers a kind, melancholic and almost Capra-like tone. That makes it pleasant, but it also takes away depth. Manchester was fascinating because he could be funny and frustrating, tender and manipulative, smart and stupid. The film touches all of that, but it does not always dare to push.

Living hidden inside a Toys "R" Us is the most cinematic part. It has something absurd, childish and sad: an escaped adult surrounded by toys, surviving like a ghost inside a store. That image sums up the character: someone hiding in a place associated with childhood while running away from adult responsibilities. There the film finds a metaphor without becoming solemn.

I liked that it is not just a robbery film. The heists matter, but not as much as Jeffrey's inability to cut ties with his past. When he is already out of state and could disappear, he returns. And that is when you want to shout at him. He has been told to forget what came before, to start over, not to look back, but he cannot. His fall does not come because the police are brilliant, but because he sabotages his own escape.

That is the most interesting point: he can be very smart when it comes to opening roofs and hiding, but he is clumsy at living. He has imagination for crime, but not maturity for freedom. And that contradiction makes the film more attractive than a simple "likeable criminal based on true events". Though it is also true that it could have been harder on him, more uncomfortable, less willing to protect his charm.

In the end, for me it remains a good, pleasant and limited film. It is easy to enjoy, it has a powerful true story, Tatum is very good, Dunst adds a lot and there are moments of humor, tenderness and unease. But it also becomes a little soft and does not explore everything juicy about the character. It interested me, entertained me and left me thinking about how strange this man was, although I do not see it as a fully rounded film.