Recensioni de* critic*

[Roofman] is at all times a glorious use of Tatum, who has needed a part like this since Magic Mike and Foxcatcher – a seriocomic, Jerry-Maguire-esque showcase letting him do more than deadpan constantly to sell us a premise... Tatum has us in the palm of his hand.

[Cianfrance] paints [Manchester] as a kind and naïve thief stuck in a dog-eat-dog system without the correct tools to lift himself up legally. Unfortunately, that’s part of the weakness of the film as it takes too long reach this point. And yet, watching Tatum flex both his comedic muscles... and dramatic chops is utterly endearing and he deserves kudos for this performance.

[Roofman] transforms the absurd tale of a criminal on the run into an intimate character study... [The film] deftly blends genres to create a low-key crowd-pleaser—one that avoids merely reveling in what made Manchester notorious in the first place.

The comedy here is in the premise. A wacky robber lives in the roof! But Cianfrance and his fully committed cast, including Peter Dinklage, Ben Mendelsohn and Juno Temple, find notes of haunted desperation in everything else. Dunst, especially, charges the film with churning emotional intensity.

Tatum turns in a lovely, entirely natural performance as the eagle-eyed yet recklessly impulsive Jeffrey; he’s become really relaxed as an actor over the years and is more than matched by the always sensational Dunst. The end product is a thoroughly charming, if slightly insubstantial story of good intentions and disastrous decisions.

Channing Tatum plays Jeffrey so lovingly that you truly understand where he is coming from with his crimes and fall for him. This is one of Tatum's best roles, and it was a delight to see him really transform and bring his all to this character.

All [the film's] playfulness, the reluctance to depict anything too seriously, is a shrewd bait-and-switch. The premise and star are a kind of Trojan horse, a way for Cianfrance to disarm his audience so they care about his mistakes.

[Roofman] was clearly intended to be lighter fare and instead ends up in this dissonant in-between space tonally... [The film] is simply too odd a bird, a movie that sets out to be a romp but can’t bring itself to smooth over the rougher aspects of its material.

[The central character's] internal struggle transforms “Roofman” from what could have been a run-of-the-mill heist movie into an intriguing character study, even if it falls just short of success.

Tatum is more than just your garden-variety charmer. Occasionally, you catch a chilly vacancy in his eyes, and you understand that Manchester believes that because he deserves happiness, he can just take it. His impulses aren’t pure; they amount to a kind of entitlement. And you feel sympathy for him even so. That’s the complex emotional push-pull that makes Roofman work.

[Roofman] certainly is comedic, and absolutely romantic, but this is also a drama and a semi-secret character study in which a tremendous amount of what’s going on in a scene is really found in the background and reactions of other characters, a reflection of the key identified trait in lead Channing Tatum’s character: observation.

For [Cianfrance] to direct a lighthearted crime comedy feels a little unexpected, to say the least. But as Roofman takes increasingly wacky turns... it’s Cianfrance’s deft touch that maintains the tricky balance between the absurd and the affecting.