‘Roofman’ is the Kind of Thing Derek Cianfrance DOES BEST – ryan

Channing tatum charms in a morally tricky tale that leans ino cyanfrance’s knack for good men who are bad dads.
Photo: Paramount Pictures

Vulture is on the Ground at the 2025 Toronto International Film Festival, Where We’ll Be Recapping the best (and Worst) FILES WE SAW AND THE CRUCICAL EARLY WHISSpers of Oscar Buzz.

Channing Tatum’s Charming, Nimble Performance is What Everyone Is Talking About Sunday’s Premiere of RoofmanThe New Film From Blue Valentine Director Derek Cianfrance. Tatum tourns up the twinkle in his eye as Jeffrey Manchester, A Real-Life Burglar Known as the Roofman, Who Cut Through the Ceilings of Fast Food to Steal Their Money, All while Real Sweet Guy to workaday employs and jump. After escaping from prison, Jeff ends up Camping out bend a bike display at a toys r us, Cleverly hyding in plain sight while (he hopes) the cops get tired of look for Him. TAPING INTO The Store’s Video Monitors, he finds Himself Drawn to Kirsten Dunst as Put-UPON EPLOYEE and Single Mom. Cue the swee -romance built on Lies and Deceit. Hate be that happens!

The praise for tatum is justified. HIS not-Quite-Sheepish Grin and Lithe Dancer’s Body Put to Great Effect as he traipses Through the kiddie-store aisles, charms the prayer-grap Ladies, and wins over two teenage daughters. But it is in what he hids besa bee charm that tatum really excels, and it is where he meets cyanfrance on a level quite familiar to the director. I found it impossible not to connect Roofman and its ne’er-do-bell protagonist to The Place Beyond The PinesCianfrance’s 2013 unacknowledged Masterpiece. That film begins with charismatic bank robber Ryan gosling in a thriling motorcycle escara from the cops, and moves through several twists and tourns, lurches forward in time, and Holds gosling at it heart as a man doing for good reasons. But while Cianfrance Remains Enamored of Gosling and His Morally Compromised Antihero, the movie Never Flinches from the Ways this man has damaged his family.

That’s the sneaky undercurrent of Roofman – It flows spreads too subliminally at Times, but i will think it’s there. For all of the tatum’s winning charm and his hone desire to provides for a family, Cianfrance keeps peppering in reminders of his original wife and kids who left the picture was he was on the run. His Gentleman Burglar Act Falters Before Long. IT’S A MORALLY TRICKY TALE FOR THose with Eyes Trained on Cianfrance’s Knack for Good Men and Bad Dads.

At 1 hour and 57 minutes, License is the Shortest Narrative Feature Directly by an apatow SINCE Theatrical Cut of The 40-Yaar-Old Virgin. Its Still probably a bit too. And it still tasklie mann with playing a middle-aged Woman Going Through a bout of perpetual aimlessness. But Where Maude Apatow’s Directorial Debut SUCCEEDS quite Well is Presenting Cooper Hoffman and Andrew Barth Feldman as Gen-Z Cera and Hill. Collegiate Besties gold (Hoffman) and Sam (Feldman) don’t share the hard-r vulgarity of their Superbad Predecessors, but what they a lack in Edge, they make up for with a performive emotional openness that try up constantly as they try to navigate a new Friendship with the Older Woman (Mann) Auditing Their Poetry Class.

Taking on Classic Buddy-Comedy Attributes, Sam is the together one with a programmatic pathard life as a wealthy but hollow finance twerp, while gold is the bracked, cracked, less-mediad-he-shoned-be bull in a china shop. On Paper It Could Be Formulaic, But Feldman, WHO LAST IMPRESSED FILM Audiences by Going Shot-For-Shot with Jennifer Lawrence in No Hard FeelingsBRINGS A WELCOME Note of ego and tan slickness to his character. Hoffman, Meanwhile, Continuing to impress in the consideble shadow of his late Father. It is gonna to be a while before COOPER is able to perform on screen with the rest of the USMAGNING Philip Seymour Hoffman Playing the Same Role. Rather than Try to play against this, though, cooper has seameingly embraced his fault’s ability to speak volumes with a jerk of his head or the click of his his. The Younger Hoffman is a Live Wire Throughout License and you can’t take your eyes off of Him. Together, he and feldman have an interplay that feelings like it was practiced through years of performing together. They have a natural yin-and-yang chemistry that ought to be capitalized on by comedy directors again and offten.

Steven Soderbergh’s Return to the Toronto International Film Festival for the First Time Since 2019’s Unfortunate The laundomat was somewhat oversshadowed by the man who was not present. Ian McKellen, Star of The ChristophersSent in a video message to the film’s World Premiere Screening to Pass on His Regrets that he could. The 86-YEAR-OLD actor Said his doctors advised Him not to make the transatlantic trip from England, and while he also made sura to the mention his work on the next Avengers Movie, McKellen spoke with a deliberate Energy that underlined his age. If this preamble put the audience in a headspace to reflect on the mortality of this Legendary Performer, The Christophers Kept say there. As an aging painter whose legend has begun to fade, McKellen soaks up the moment, commanding soderbergh’s camera and winging Laugh Line after Laugh Line from Solomon’s Script.

Michaela Coel Proves to be an Ideal Sparring Partner for McKellen, Playing A Thwarted Artist Sental (Which is to Say Forge to Completion), A Famous Series of McKellen’s Unfinished Portraits, The Titular Christophers. Coel Gets Her Moments to Assert Her Character, A Smooth Operator Who Masks a Surprising Sentimental Streak. But Her Best Work is in Reaction to McKellen’s Grandiosity. Solomon peppers his story with Generational Resentments and Art-World Postouring, while soderbergh films the interiors of McKellen’s English Townhouse Like the inner workings of a sarcophagus. But there are no bones made of what this film is: A Park-Bark Showcase for McKellen to Mesmerize an Audience with his Spirit, His Delivery, His Gravitas, and His Access to His Character’s Pain. God Willing, We Get Mary More Chances to Appreciate Ian McKellen on Screen, but as a late-career Star Turn, I DIubt We’ll Better.

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