Roofman – Film Review
Reviewed by Harris Dang on the 15th of October 2025
VVS Films ANZ presents a film by Derek Cianfrance
Screenplay by Derek Cianfrance, Kirt Gunn
Produced by Jamie Patricof, Lynette Howell Taylor, Alex Orlovsky, Duncan Montgomery, and Dylan Sellers
Starring Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang, and Peter Dinklage
Cinematography Andrij Parekh
Edited by Jim Helton and Ron Patane
Music by Christopher Bear
Rating: M
Running Time: 125 minutes
Release Date: the 16th of October 2025
Roofman tells the frankly unbelievable true story of Jeffrey Manchester, an infamous thief who over two years burgled more than 40 McDonald’s establishments.
In the film, the world is unaware Manchester (played by Channing Tatum) is a divorced Army veteran struggling to provide for his three young children and ex-wife, Talana (a devastatingly effective Melonie Diaz). Unfortunately, his luck ends when he is caught by the authorities during his daughter’s birthday and the media builds his infamous reputation as the mysterious “Roofman”.
Ostracised from his family and sentenced to 45 years in prison (murderers receive lighter sentences), Manchester grows accustomed to the prison working routines so he can make a daring escape. While on the run, he takes refuge in a Toys “R” Us store. When hiding in plain sight, he notices the presence of Leigh (Kirsten Dunst), a single mother of two daughters Lindsay (Lily Collias) and Dee (Kennedy Moyer) and falls for her. Donning a new identity as John Zorn, he tries starting a new life. Yet his past refuses to back down and sooner or later, the proverbial roof caves in on him.
Roofman is the latest film from indie director Derek Cianfrance, best known for the gripping dramas Blue Valentine (2010) and The Place Beyond the Pines (2012). There was recent news he would explore genre films, notably Wolf Man with Blue Valentine lead actor Ryan Gosling. Unfortunately, the project fell through. In a serendipitous way, Cianfrance’s next project was the amusingly (and appropriately) titled Roofman. What makes Roofman different from Cianfrance’s prior work is the story is based on a real-life figure. It is also a partial genre departure for Cianfrance as it is a comedy. Given the film’s premise, amping up the humour behind the ridiculously true events is appropriate.
Thankfully, Cianfrance never overplays his hand as he recognises his lead subject as believably flawed and remarkably human. His balance of comedy and drama is deftly handled as his storytelling is emblematic of the titular character. Manchester is charismatic on the outside but melancholic on the inside. The comedy is all told through character and belies a sense of foreboding in that any peaceful respite Manchester undergoes is fleeting. For example, his joviality in enjoying the Toys “R” Us store soon becomes his new proverbial prison.
The delicate balance means Cianfrance humanises Manchester and provides empathy and judgement for his actions. His actions are fuelled with good intentions, but we see the bleak effect on his family and how his actions are self-redemption to make himself and others happy. It comes with a price as they were achieved through deception, meaning his past snows in on him.
Accentuating the tonal balance is the brilliant score by Christopher Bear (who last worked with Cianfrance on Blue Valentine) that alternates between jaunty and sorrowful. In addition, the beautifully rough 35mm cinematography by Adrij Parekh (who also worked on Blue Valentine) keeps the story down-to-earth. The screenplay by Cianfrance and Kirt Gunn also contains enough background detail and social commentary, including the treatment of army veterans, the prison rehabilitation system, worker exploitation, rampant consumerism, and more to inform the characterisation and drama without didacticism.
The depth of characterisation means this is the perfect role for Tatum to explore. He is a charismatic performer whose physicality provides great comedic and dramatic work, just as it did the Jump Street (2012 and 2014) films and Foxcatcher (2014). Under Cianfrance’s direction, Tatum conveys childlike innocence, self-hatred, desperation, and affability that makes Manchester a full-bodied, three-dimensional character worth following. Dunst ably supports him with understated work and real heart. The chemistry between herself and Tatum is palpable and convincing.
The supporting cast have small roles but add humour, credibility, and pathos to the story. The standouts include Peter Dinklage (amusingly smarmy as Leigh’s boss), LaKeith Stanfield (a fantastic foil and voice of reason for Manchester), Ben Mendelsohn, and Uzo Aduba (warm and funny as a preacher couple), Emory Cohen (refreshingly veering from antagonistic roles to playing a bullying victim/employee) and Lily Collias (showing the same promise she did in her lead role in Good One).
Overall, Roofman is a compelling comedy-drama crowd-pleaser that shows Derek Cianfrance’s directorial eye in a different light. It also marks a fantastic acting showcase for Channing Tatum. Recommended.
Summary: Roofman is a compelling comedy-drama crowd-pleaser that shows Derek Cianfrance’s directorial eye in a different light.
4
Enjoyable
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