TIFF Review: Roofman Observes Derek Cianfrance Masterfully Handling a Delicate Tonal Equilibrium

      Derek Cianfrance's position in contemporary American cinema may be relatively minor, yet it is still significant enough to recognize. His limited body of work, comprising just four feature films and one HBO miniseries, showcases a remarkable consistency in tone and style: a raw post-Cassavetes intensity that approaches Sirkian melodrama, deeply engaged with themes of generational trauma and fractured families. His latest project, the Emmy-winning I Know This Much is True featuring Mark Ruffalo, spans six hours, which may lean towards overwhelming misfortune bordering on self-parody. Nevertheless, it remains profoundly moving and authentic, illustrating how the director triumphs despite potential shortcomings.

      This leads us to his first feature in nine years, Roofman, which features a tug-of-war dynamic between Cianfrance and star-producer Channing Tatum. The former appears focused on another narrative centered on troubled familial ties in working-class America, while the latter seems intent on a starring role that allows him to portray one of the most likable characters in recent memory. This tension is evident throughout the film; however, by the conclusion, a satisfying resolution occurs.

      Roofman is inspired by the incredible true story of Jeffrey Manchester. It begins with him robbing a McDonald's, politely assuring the morning staff that he has no intention of harming anyone. This small-time criminal, a war veteran, struggles to support his family due to lack of job opportunities, despite being described as the "smartest dumb person" you'll ever meet. After being apprehended for his fast-food heists, Manchester ends up in prison, from which he executes a dramatic escape. He eventually hides out in a Toys “R” Us in North Carolina, disabling the security system to create a makeshift home while eluding law enforcement.

      As he masters the surveillance cameras, he becomes infatuated with store employee Leigh (Kirsten Dunst), a single mother of two daughters facing difficulties with a quietly oppressive manager (Peter Dinklage) who denies her scheduling requests. Manchester begins a romance with her, almost instantly becoming a father figure to her teenagers. However, a darker implication arises: he appears to be neglecting his family back home, whom he initially sought to support through his robberies. Beneath his charming, "generous" persona lies a very lost individual who refuses to confront his own issues.

      Tatum exudes charisma, reminding viewers that he may actually be a more skilled actor than many Oscar-winning stars. However, there is a sense of an ego-driven star vehicle; Manchester is almost excessively likable. Just when it seems that the character study aspect of Roofman might feel overly polished, the film delivers a powerful emotional punch in its final 20 minutes. In hindsight, it becomes easier to appreciate the nuanced tonal balance Cianfrance aims for throughout, resulting in a rough yet ultimately successful melodrama.

      Roofman premiered at the 2025 Toronto International Film Festival and is set to release on October 10.