There’s an Interesting Movie Trapped Inside Roofman

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The film *Roofman* hints at a complicated look at what it means to be a man, but it struggles to fully explore the darker side of its protagonist. The movie opens by stating it’s based on a true story, immediately showing Jeffrey Manchester (Channing Tatum) breaking into a McDonald’s – his signature move, which earns him a nickname from the media. He greets the arriving employees with a rifle, but assures them he doesn’t want to hurt anyone. Jeffrey is a surprisingly *polite* robber, leading the hostages in a cheerful “Good morning!” and even making sure they have their coats before locking them in the freezer. (He even gives his own jacket to the manager who forgets his.) While this politeness might not matter much to people facing a potentially life-threatening situation at their low-paying jobs, it’s central to Jeffrey’s self-image; he believes he’s simply doing what’s necessary to support his family. The core question the film *Roofman* poses is whether it fully accepts the importance of this unusual behavior.

Director Derek Cianfrance, known for his sensitive portrayals of flawed men in films like *The Place Beyond the Pines* and *Blue Valentine*, found himself drawn to this story of a father prioritizing material possessions – a bike, a pool – over spending time with his daughter. However, *Roofman*, which he also co-wrote, doesn’t quite land as the lighthearted film it seems to aim for, resulting in an uneven tone. A good example is the scene where Jeffrey is finally caught after completing 45 jobs, with the police arriving during his daughter’s birthday party. It tries to be funny, showing Jeffrey comically running through neighborhoods, but it’s undercut by the upsetting image of him being arrested in front of his daughter, who watches with fear. Cianfrance doesn’t treat the people around Jeffrey as unimportant; the film stays largely within Jeffrey’s perspective, using voice-over to reveal his belief that he’s a well-intentioned person doing his best with what he’s got and avoiding hurting anyone.

Channing Tatum plays Jeffrey, a kind but somewhat naive man, a role he often excels at. As his friend and fellow veteran Steve amusingly observes, Jeffrey is remarkably intelligent in practical ways – he’s great with understanding how things work – but clueless about social cues and the world around him. After escaping from prison, Jeffrey impulsively visits his daughter, longing to reconnect with his former life, even though it’s impossible. He ends up hiding out at a Toys ‘R’ Us in Charlotte, where he surprisingly decides to pursue a relationship with Leigh (Kirsten Dunst), a divorced mother of two. He doesn’t simply try to win her over; he actively seeks to build a connection with her and her daughters, charming them despite his mysterious background – he claims to be working on a secret government assignment and can’t reveal where he lives – and generous donations to a toy drive.

The film *Roofman* acknowledges that Jeffrey’s behavior—overwhelming a family with affection and quickly becoming deeply involved in their lives despite having no long-term prospects with them—is unsettling. However, it still portrays his actions as romantic. Similarly, the movie presents Jeffrey’s interest in his coworkers (played by Peter Dinklage and Emory Cohen) as genuine, even though he secretly spies on them using hidden cameras. *Roofman* is an unusual film; it aims for a lighthearted tone but struggles to gloss over the more problematic elements of its story, particularly Jeffrey’s need to impress people with gifts and money. Jeffrey’s supposed kindness stems more from a desire to be seen as a hero than from genuine consideration for the women he manipulates. He consistently acts selfishly—lying to children and even resorting to violence during a final job—as if his own idea of what it means to be a man prevents him from recognizing the impact of his actions on others.

What truly sets this film apart isn’t its characters, but its incredibly detailed depiction of everyday America – the strip malls and chain stores that are so common, yet rarely seen with such care on film. The director doesn’t shy away from this unremarkable landscape; instead, he highlights how communities can thrive even in anonymous places. The film’s heartfelt portrayal of spaces like store break rooms and a local church, where a character sings in the choir, is actually more touching than its focus on the main character. It’s a celebration of places that feel both universal and uniquely specific.

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2025-10-10 23:56