It took a minute for me to realize that Channing Tatum is, for the most part, awesome. I have to admit that it took a minute. When he showed up initially in the mid-2000s, I figured he was standard issue beefcake, some guy manufactured in a lab deep underneath the Hollywood sign, destined to appear in garbage. We should be fair and remember that nearly every actor has appeared in a stinker.* Being unfair, however, how was I supposed to take G.I. Joe: The Rise of Cobra seriously?

Though as time went on, my opinion toward Tatum changed. He was a comedy powerhouse in 21 Jump Street. He was a damaged athlete in the flawed Foxcatcher. He was a charming crook in the effortlessly fun Logan Lucky, and it was that film that made me figure out what Tatum’s ideal role is. 

For me, that role is one where he plays a) a nice guy who’s b) divorced and c) has a daughter he loves desperately and whom he wants to take care of, which forced him into d) becoming a mostly non-violent criminal. Logan Lucky ticks all those boxes, and is a damn near perfect comedic crime movie. Perhaps not quite as good, but still a rollicking good time, is Tatum’s new film Roofman. As before, he plays a criminal with a specific set of skills, but this time he’s portraying a real guy.

For Jeffrey Manchester (Channing Tatum), his particular set of skills is not hitting a target four thousand meters away with a sniper rifle, or beating the holy hell out of a roomful of bad guys. Manchester is ex-military, and is a competent soldier, but he’s no powerhouse fighter. Instead, his skillset comes from the fact that he excels at paying attention. His brain files away the little details many of us miss, and will put those details to good use at a moment’s notice.

Jeff doesn’t put those skills to work as a cybersecurity analyst, paralegal, or other fields where a high attention to detail is key. Instead, he steals stuff. He’s developed a racket in which he cuts his way through the rooftop of a McDonald’s, hangs out until the opening crew shows up, then relieves them of their pesky money. He’s robbed dozens of McDonald’s franchises, and there’s one thing everyone says about the masked thief – he’s a super nice guy.

Why is Jeff doing this? Because he wants the best for his wife and kids, and unfortunately, the best ain’t free. Also unfortunate is when the police show up to arrest him at his daughter’s birthday party. Jeff is sentenced to forty-five years in prison. He’s not into the sentence, and he puts his powers of observation to work devising an escape plan. Pretty soon, he’s out, and he finds the only place that makes sense to hole up long term: a Toys “R” Us.

Over time, Jeff finds a nearly foolproof hideyhole in the store. He steals video games to pawn for cash, and learns the habits of the store’s staff. One of them is the manager, Mitch (Peter Dinklage), an officious jerk. Another is Leigh (Kirsten Dunst), a divorced mother of two who catches Jeff’s eye. He can’t help himself, he’s got to get to know her. And he does, by spinning a ridiculous story about being in a confidential government position. It works, and Jeff becomes a fixture in the lives of Leigh, her daughters Lindsay (Lily Collias) and Dee (Kennedy Moyer), as well as Ron (Ben Mendelsohn), a friendly pastor. Jeff loves the new life he’s leading. He also knows the deception can’t last. 

Up to the last twenty or so minutes of Roofman, I didn’t think it felt much like a film directed by Derek Cianfrance. He’s known for gritty, emotionally intense films like Blue Valentine and The Place Beyond the Pines. The majority of this film is relatively light, and we spend a great deal of time with Channing Tatum’s Jeff as he politely pulls off robberies, goofs off at Toys “R” Us, and sweetly inserts himself into the lives of Leigh and her daughters. In thinking about it a little later, a few things came into focus I hadn’t realized. 

First, Cianfrance is one of the few American directors who understands how to portray the lives of blue collar people without making them excessively noble or overly grimy. The restaurants, apartments, and churches in this film feel lived-in. For the most part, Cianfrance’s tone matches the personality of the main character. It’s likable, bouncy, and very often feels less plot-driven and more of a genial hangout movie. Moving into the third act is when things get serious, or serious-ish. Cianfrance knows there are only a few ways this story can end, and he does a creditable job of making the emotion feel real. My one complaint with the direction is that, at times, the pacing drags a little. I don’t know what Cianfrance could have cut, considering the vast number of absurd real-life details,** I only know there were moments I felt a little restless.

For the most part, the screenplay by Cianfrance and co-writer Kirt Gunn is effective. As far as I could tell, it’s relatively faithful to the reality of Jeff’s crime spree, and we understand what happened and when. It’s the why that feels somewhat surface level. Over and over, we see Jeffrey bringing tons of gifts to his daughter, to Leigh, to her girls. He says he loves kids, and at one point, Leigh rebuffs his gifts and tells him she only wants time with him. That’s fine, but why is Jeff so hyperfocused on stuff being the key to a happy family? Is this a commentary on American consumerism, or is Jeff overcompensating after completing military service? In a script, it’s fine if a character doesn’t understand their own psychology. However, it’s essential for the script to, and here, I think a tiny bit of tell would have enhanced all the show.

The cast largely plays real people and, as such, their performances are grounded and subtle. I quite liked LaKeith Stanfield as an Army buddy of Jeff’s, and someone utterly clear-eyed about who Jeff is. It was nice seeing Ben Mendelsohn not play a scumbag, and instead, he’s the sweet pastor who enthusiastically welcomes Jeff to the flock. I think the strongest performance comes from Kirsten Dunst as Leigh. Dunst has gotten so good at playing normal people, so much so that she seems to be behaving as opposed to acting. 

Speaking of acting, let’s talk a moment about Channing Tatum, who appears in nearly every scene and carries the entire film. From the minimal research I did, the real Jeffrey Manchester is a very nice dude who also has a Cray supercomputer for a brain. Tatum pulls that off nicely, and his natural charm makes it a pleasure to hang out. More interesting is the choice to undersell just how sharp Jeff is. That feels like an intentional and thoughtful decision, and I suspect the real Manchester is much the same way. Watch the sequence in prison where Jeff spots a weak point, and exploits it for his escape. You can see Tatum thinking, putting together and executing each step of a solid plan. Yet he’s content to come off as a likeable, perhaps slightly needy Labrador Retriever of a guy. I can understand why Tatum has been in conversation for Best actor, and I wouldn’t be a bit surprised if he’s nominated.

There aren’t too many crowd pleasers in theatrical wide release due to the deluge of IP. But when one comes along like Roofman, I appreciate the lucky break. While it overstays its welcome a bit, it acts as a solid showcase of Channing Tatum’s and Kirsten Dunst’s talents and introduces us to a story that’s far too strange to be fiction.

*Nearly every actor. It’s hard to look at Daniel Day-Lewis’ filmography and identify a film that sucks.

**One detail I wish he’d kept? When police found the real Manchester’s hidey-hole, which was in an abandoned Circuit City next door to Toys “R” Us, the only fingerprint of his was on a DVD of Catch Me If You Can.

Tim Brennan Movie Critic

Tim has been alarmingly enthusiastic about movies ever since childhood. He grew up in Boulder and, foolishly, left Colorado to study Communications in Washington State. Making matters worse, he moved to Connecticut after meeting his too-good-for-him wife. Drawn by the Rockies and a mild climate, he triumphantly returned and settled down back in Boulder County. He's written numerous screenplays, loves hiking, and embarrassed himself in front of Samuel L. Jackson. True story.