‘Roofman’ Review: A Wonderful Piece Of Escapism

As a kid, you’ve probably dreamed of having your favourite toy store all by yourself. Endless cuddly toys, brand-new gadgets, all the tooth-aching candy you can wish for and not one single adult to stop you. For Jeffrey Manchester (Channing Tatum), this scenario became reality, but not because he wanted to fulfil his dream. Instead, it was his latest attempt to stay out of the claws of the police after escaping from prison, where he was serving a 45-year sentence.

If you add a love interest (Kirsten Dunst), the scumbag store manager (Peter Dinklage) and false identities to it, you basically get Roofman, the latest movie by director Derek Cianfrance. The film is clearly Cianfrance’s recent attempt to shift from indie films to a more crowd-pleasing biopic (yes, it’s based on the real-life story of Jeffrey Manchester). While this feature certainly has less depth and texture than the director’s The Place Beyond the Pines and Blue Valentine, it’s a heartfelt work that offers wonderful escapism on a rainy day.

That’s mainly because of Tatum’s (Dog) charming performance. When Manchester is left alone in the store at night, he unleashes his inner child by discovering all that Toys R Us has to offer. Those joyful moments not only highlight Tatum’s comedic side and impeccable timing but also showcase the wonderful flair and creativity of editors Jim Helton (The Light Between Oceans) and Ron Patane (A Most Violent Year). What you see are light-hearted, fast-paced montages that are certainly the most cheerful scenes to watch.

Even when things get serious, such as when Manchester fearing for his life or when his romantic relationship with Leigh is on the verge of collapsing, Tatum’s acting stays as strong and impactful. That’s because of his remarkable ability to convey complex emotions with just one look. While Manchester has held employees of the fast-food chains he has been robbing at gunpoint, which he describes as his bad decisions, you do feel for him. You want him to find a way out of his predicament, obtain the new passport and identity that will be delivered by his best friend, Steve (LaKeith Stanfield), and go on living his new life, with or without Leigh.

As far as Leigh goes, Dunst (Civil War) certainly matches Tatum’s incredible charisma and upbeat acting. She brings her character to life with much emotional honesty and nuanced expressions. Unlike Melonie Diaz (Fruitvale Station), whose performance as Manchester’s first wife feels clichéd, Dunst can avoid the traps of predictability and monotony. What looks like an ordinary store clerk who’s shy and being pushed around by the perfect example of a bad-tempered manager turns out to be a strong-willed woman who stands up for herself, her colleagues and her family. Also, Dunst’s touching portrayal will move you even more when Leigh joins the angelic choir of pastor Ron and his wife, Eileen (played by Ben Mendelsohn and Uzo Aduba, respectively).

You have Tatum’s charming yet sometimes serious performance, Dunst’s confident and compelling acting and a lot of fun in the toy store. So then why doesn’t Roofman fully work? It’s all because it all feels too one-dimensional. Despite the filmmaker being known for his carefully constructed and poignant studies of social interactions and what it’s like to be human, the supporting characters and the script don’t have enough to offer to remain engaging for the entire runtime. While both Dinklage (Cyrano) and Stanfield (The Book Of Clarence) try to elevate the underwritten, stereotypical roles with humour, rudeness, seriousness, and intrigue, they only partially succeed in breaking free of typical character development. Meanwhile, Juno Temple (Venom: The Last Dance) doesn’t get enough to work with (apart from her Killer Joe accent) as Steve’s girlfriend. Therefore, both her performance and character lack total complexity.

Throughout the film, you obviously learn more about Manchester as a person and his actions, and, in the hands of Tatum, it results in a cheerful story, especially when Christopher Bear’s (Past Lives) score makes it even more delightful. However, what’s truly missing in the script is the why. As a father, Manchester frequently goes on a shopping spree for his (steph)kids, but why does a father feel the need (or is it pressure) to buy his children so many presents if the most cherished gift would be his time? Also, despite being a veteran before becoming a criminal, Manchester isn’t welcomed by society with open arms. Instead, it forces him to commit crimes to belong and live the life he thinks is best. It feels like gags and humour were more critical than nuance and detail.

While the predictability and one-dimensional script make Roofman feel like it doesn’t live up to its full potential, it still works as a fun and entertaining feature. With solid leads, it becomes just the kind of work you want to see now that the days are getting shorter and gloomier.

Roofman is out now in theatres courtesy of Paramount Pictures