Roofman (2025)

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+