Roofman Is the Kind of Thing Derek Cianfrance Does Best

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At the 2025 Toronto International Film Festival, a vulture (or us) will be reporting back on the top (and bottom) movies we watched, as well as any initial rumors pointing towards potential Oscar nominations.

At Sunday’s debut of “Roofman,” Derek Cianfrance‘s latest film, everyone is raving about Channing Tatum’s captivating and agile portrayal as Jeffrey Manchester, a notorious burglar famously known as the Roofman. In this role, Tatum exudes a charismatic twinkle as he sneaks through the ceilings of fast food restaurants to pilfer their cash, yet remains kind-hearted towards the unsuspecting employees he catches off guard. After serving time in prison, Jeff finds himself hiding out behind a bike display at Toys R Us, managing to blend in while avoiding detection by the police. Intrigued by the store’s surveillance system, he develops an affection for Kirsten Dunst’s character, a hardworking employee and single mother, leading to a tender romance filled with deception and falsehoods. Isn’t it always the case that love comes with its fair share of complications?

As a movie enthusiast, I must say that Channing Tatum’s performance in ‘Roofman’ is truly deserving of acclaim. His endearing, yet slightly bashful smile and agile dancer’s physique serve him well as he navigates the kiddie-store aisles, captivates prayer-group women, and earns the affections of Dunst’s two teenage daughters. However, it’s in the depth hidden beneath his charming exterior where Tatum truly shines, and that’s where I found him resonating deeply with director Derek Cianfrance. I was utterly captivated by the parallels between ‘Roofman’ and Cianfrance’s 2013 masterpiece, ‘The Place Beyond the Pines’. In this film, we meet Ryan Gosling as a charismatic bank robber in an exhilarating motorcycle chase from the cops, but it moves through unexpected twists and turns, progressing over time, and keeps Gosling at its core as a man who does wrong for what he believes are right reasons. However, Cianfrance never shies away from portraying how this character’s actions have negatively impacted his family, something I found strikingly similar to the complexities of ‘Roofman’.

The subtle undertone in the film “Roofman” can sometimes be hard to discern, but it definitely exists. Despite James Tatum’s charisma and his apparent eagerness to support his family, director Cianfrance continually highlights his estranged wife and children who were absent when he went into hiding. Over time, the facade of a gentleman burglar begins to crack. This story presents a complex moral dilemma, particularly for those who appreciate Cianfrance’s talent for portraying both noble men and troubled fathers.

Poetic License Has Brought Us the Gen-Z Michael Cera and Jonah Hill

In approximately one hour and fifty-seven minutes, “Poetic License” becomes Apatow’s shortest narrative feature since the theater release of “The 40-Year-Old Virgin.” Despite its length, it still puts Leslie Mann in the role of a middle-aged woman grappling with aimlessness. However, Maude Apatow’s directorial debut excels particularly well in portraying Cooper Hoffman and Andrew Barth Feldman as modern-day versions of Michael Cera and Jonah Hill from the Gen Z perspective. Their characters, Ari (Hoffman) and Sam (Feldman), may not exhibit the same hard-R vulgarity as their “Superbad” counterparts, but they compensate with an expressive emotional vulnerability that often leaves them stumbling as they form a friendship with the older woman (Mann) who audits their poetry class.

In the traditional style of buddy comedies, Sam is portrayed as the organized one, heading steadily towards a life of wealth but lacking substance as a finance guy, while Ari is the impulsive, unpredictable character with less restraint than necessary, causing chaos wherever he goes. On paper, it might seem like a worn-out formula, but Feldman, who previously impressed audiences by matching wits with Jennifer Lawrence in “No Hard Feelings,” adds a touch of arrogance and smoothness to his role. Hoffman, conversely, continues to captivate us amidst the towering legacy of his late father. It will take some time before we can watch Cooper without imagining Philip Seymour Hoffman in the same part. Instead of trying to defy this expectation, Cooper appears to have adopted his father’s skill of conveying depth with just a slight head tilt or click of the tongue. Throughout “Poetic License,” Hoffman Junior is electrifying and impossible to look away from. Their dynamic together feels genuine and honed over years of shared performances. The pair has a harmonious yin-yang chemistry that comedy directors should make use of more frequently in the future.

There’s Still No One Doing It Like Ian McKellen

As a devoted fan, I was eagerly anticipating Steven Soderbergh’s comeback at the Toronto International Film Festival since his 2019 film “The Laundromat.” However, the absence of a certain illustrious figure, Sir Ian McKellen, cast a shadow over the event. Despite being unable to attend in person due to medical advice against transatlantic travel, McKellen sent a heartfelt video message for the world premiere of “The Christophers.”

At 86 years old, the venerable actor’s energy was palpable, hinting at his advancing age. His mention of his upcoming work on the next “Avengers” movie served as a reminder that even legends like him continue to make history. But it was McKellen’s poignant words and deliberate tone that had us contemplating the fleeting nature of his legendary status.

“The Christophers,” however, kept this contemplative mood alive. As an aging artist grappling with the wane of his fame, McKellen masterfully commanded Soderbergh’s lens, eliciting laugh after laugh from Ed Solomon’s script. This film served as a poignant reminder to cherish every moment with icons like McKellen, for their brilliance is timeless.

Michaela Coel joins forces with Sir Ian McKellen in an intriguing film. Coel portrays an artist attempting to finish a collection of McKellen’s unfinished paintings, known as the Christophers. Throughout the movie, Coel demonstrates her character’s cleverness and unexpected emotional depth. However, she truly shines when reacting to McKellen’s grandeur.

Solomon’s script tackles issues like generational tension and art-world pretensions, while Soderbergh captures the opulent interiors of McKellen’s English mansion in a mysterious and intriguing way, as if revealing its inner secrets. Although the movie is mainly a platform for McKellen to showcase his talent and charm, it leaves no doubt about its purpose: to captivate audiences with McKellen’s charisma, acting prowess, and emotional depth.

May we be fortunate enough to witness more of Ian McKellen on screen, but this late-career performance is likely to be difficult to top.

Gamify It

Have you heard? You can choose from numerous movies to draft in Vulture’s annual Movies Fantasy League, a fun and free game! In this game, you assemble a squad of eight movies using pretend money worth $100, then watch as they accumulate points based on box office success, critical acclaim, and awards. The stakes are high: not only can you win various attractive prizes, but also the ultimate bragging rights against your friends, colleagues, and industry experts. If you’re curious to learn more or ready to form your team, click here or sign up below for a reminder before the registration deadline passes.

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2025-09-09 01:55