2025 ‘Roofman’ Movie Review: A Deep Dive into the Cinematic Masterpiece | Insights from Roger Ebert

“Roofman” is a biopic directed by Derek Cianfrance,”Roofman” is a biopic directed by Derek Cianfrance that tells the story of Jeffrey Manchester, played by Channing Tatum. Once a U.S. Army Reserve officer, Manchester made a series of poor choices in the late ’90s, robbing fast food restaurants by sneaking in through their roofs and holding employees at gunpoint. After receiving a 45-year prison sentence, he uses his sharp observational skills to escape and hides in a Toys “R” Us for six months. There, he strikes up a romance with Leigh, played by Kirsten Dunst, a single mom trying to rebuild her life.

Tatum shines as Manchester, bringing both charm and depth to the role. He portrays the character’s emotional struggles through subtle expressions, allowing audiences to empathize with someone who has made “bad decisions.” His relationship with Leigh, played with warmth by Dunst, provides a glimpse into his attempts at redemption.

However, the film has its flaws. Supporting characters feel more like stereotypes than fully developed individuals. For instance, the toy store manager and Leigh’s pastor come off as clichés of retail and Southern hospitality. LaKeith Stanfield, who plays Manchester’s friend, is underutilized, and while Dunst gives her character life, other roles feel predictable.

Despite its shortcomings, “Roofman” captivates with its humor and Tatum’s affability. As the credits roll, real news footage of Manchester’s crimes plays alongside the cast names. This footage, featuring comments from his robbery victims who describe him as a “nice guy,” adds a strange layer to the narrative. At the premiere, audiences laughed during these clips, contrasting with how we perceive different criminals.

This difference brings to mind similar stories, like that of Rob from Garrett Bradley’s documentary “Time.” Rob, convicted for armed bank robbery and serving 21 years, doesn’t get the same comedic treatment. Why does society respond differently to these two men, both shaped by their circumstances?

By the film’s end, Manchester remarks that he realizes his actions hurt those he loved, asserting they wanted his time, not things. Yet this realization feels superficial. The script neglects to explore the societal pressures that drove him towards consumerism or the struggles of veterans adjusting to civilian life after trauma. “Roofman” entertains but misses the opportunity to delve into the deeper questions that could give the story more weight.

In contemporary discussions on crime and punishment, narratives like Manchester’s highlight the complexities behind individual choices. This shift in how we perceive crime—shaped by societal norms, class, and racial lines—deserves more critical examination.

If you’re interested in the intersection of crime and society, exploring topics like the criminal justice system or veteran reintegration can provide valuable context. You can read more on the impact of media portrayals on public perception in studies by institutions like the Urban Institute here.

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