There’s considerable throwback appeal to “Roofman,” a quirky dramedy based on an unbelievable true story that mines the same groove as films like Richard Linklater’s “Bernie” (2011) and Steven Soderbergh’s “The Informant!” (2009), featuring a lead character you just can’t help but root for, despite the bafflingly bad choices he makes along the way.
But because this comedic crime caper is helmed and co-written by Derek Cianfrance, who is known for his melodramatic weepies “Blue Valentine,” “The Place Beyond the Pines” and “The Light Between Oceans,” the effect of “Roofman” is far more poignant and tender than wacky and wild; the material itself is mind-boggling enough.
Channing Tatum stars as Jeffrey Manchester, aka the Roofman, a well-meaning but savant-like career criminal who robbed upwards of 45 McDonald’s locations in the late 1990s by tearing holes in the roofs. The film follows his time living for months in a Toys R Us while on the lam in Charlotte, North Carolina, in 2004.
Cianfrance doesn’t have to push the humor, which unfolds organically, due to Manchester’s reputation as an exceedingly nice and polite armed robber, an inexplicable blend of traits that happens to be the bullseye of Tatum’s skillset as a performer. As Jeff, and later, going by his alias “John Zorn,” Tatum is both easy charmer when he needs to be and weirdo loner. There’s a certain warmth, goodness and goofiness to Tatum’s persona that he and Cianfrance put to use. Despite his many, many crimes, we have to believe that he’s doing this for good, if misguided, reasons and that he truly doesn’t intend to hurt anyone.
That’s perfectly illustrated in the opening scene where he gives his coat to a McDonald’s manager (Tony Revolori) as he locks the staff in a walk-in freezer.
But Cianfrance also brings his skill with drawing out deep emotion to bear on this story as well. In someone else’s hands, this film might tip over into slapstick, but Cianfrance’s tonal restraint and focus on Jeffrey’s inner turmoil — his desire to simply provide for a family — make “Roofman” a far more moving piece than expected.
This is one of Tatum’s best and most lived-in performances to date, with Cianfrance making use of his natural appeal and physicality but also pushing him into more complex emotional waters. (It wouldn’t be a Cianfrance movie without some tears.) He is especially potent opposite Kirsten Dunst, who plays Leigh, a Toys R Us employee with whom Jeffrey strikes up a relationship after meeting at a local church.
Separated from his own family and children, Jeffrey attempts to fill the hole in his heart with Leigh and her daughters, furnishing the girls with stolen gifts while falling for the single mom. Dunst and Tatum are terrific together, particularly in moments where things are left unsaid, unspoken confessions, apologies and forgiveness coursing between them. Cianfrance’s slow zooms on Tatum’s tormented face tell us everything we need to know.
For much of the film, Tatum’s performance is purely physical, wordless, while Jeffrey is alone, a voice-over providing context and reflection. Slimmed down and lithe, Tatum’s panther-like physicality showcases Jeffrey’s preternatural ability to master his environment through keen observation and sheer determination. One scene where he has to make a quick escape while stark naked is absolutely astonishing.
“Roofman” is predominantly a one-man showcase for the full range of Tatum’s talents, but the entire ensemble is crucial for any good caper. Dunst’s prowess pushes his own performance, while Peter Dinklage offers levity as the stern store manager Mitch. Ben Mendelsohn steps into the role of Jeff and Leigh’s chipper pastor, which requires enthusiastic hymn-singing. Mendelsohn tackles this with gusto alongside Uzo Aduba as his wife. Lakeith Stanfield plays Jeff’s one friend and confidant, a military buddy, with Juno Temple as his girlfriend.
These actors color in the world around Jeff, providing examples of how easily he is able to inveigle trusting strangers with a bit of smooth talk, slipping into normal society and evading capture. But Stanfield in particular also serves as a moral compass, or at least a dose of common sense, offering ballast to the proceedings. It would otherwise be too easy to justify Jeff’s actions, not as good choices, but the choices made by a person who desperately wants to do good, but can only achieve it in a bad way.
Jeffrey Manchester might have been a folk hero of the early 2000s but his story resonates even more today, with wealth inequality and materialism higher than ever. An audience of 2025 will understand what Jeff does empathetically, without having too much sympathy for corporate losses or law enforcement. In this era, his bad choices, driven by desperation, make much more sense. For this moment, the “Roofman” has arrived right on time.
Katie Walsh is a critic for Tribune News Service.
“Roofman” — 3 stars (out of 4)
MPA rating: R (for language, nudity and brief sexuality)
Running time: 2:06
How to watch: In theaters Oct. 10