SYNOPSIS: Based on a true story, “Roofman,” now playing in theatres, stars Channing Tatum as an escaped convict who avoided detection for months by living in a Toys “R” Us store.
CAST: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang, and Peter Dinklage. Directed by Derek Cianfrance.
REVIEW: A showcase for its star’s charm, “Roofman” stretches credulity until it is paper thin. If not for Channing Tatum’s innate likeability this story of a vet who turns to a life of crime so he can afford a normal life with his kids would be a stone-cold clunker.
Set in 2004, when Blockbusters still dotted the landscape, “Roofman” is the true story of former United States Army Reserve non-commissioned officer Jeffrey Manchester. His years of service gave him the unique talent of being able to analyze situations and expertly determine operational weaknesses. “I see things other people don’t see,” he says.
The skill comes in handy on his return Stateside.
Unable to get meaningful employment or hold his marriage together, he scopes out McDonald’s locations, learning their routines, particularly when and how they make bank deposits after a brisk weekend business. Discovering all the chain restaurants operate in essentially the same way, he begins a crime spree that sees him enter a restaurant through the roof and hide inside until the first shift arrives. He then gets them to open the safe, grab the “weekend corporate burger money,” lock the workers in a walk-in cooler and flee.
Forty-five or fifty robberies into his crime wave ends with a sentence of forty-five years in prison. Inside, he once again uses his power of observation to make a daring escape. On the run, he settles in Charlotte, North Carolina, finding shelter in a Toys “R” Us store.
It’s here the movie really begins, as we learn about Manchester’s survival skills—he lives, undetected in the store for 8 or 9 months—and his relationship with Leigh Wainscott (Kirsten Dunst), a single mom and Toys “R” Us employee.
Tatum plays Manchester as a nice guy driven to extremes by circumstance. Sure, he locks burger joint employees in room-sized coolers, but he always makes sure they wear jackets to stay warm. He’s a sensitive soul who, on the phone from prison, tells his daughter, “We don’t say goodbye, because goodbye means going away and going away means forgetting.”
It’s an effective performance that brings warmth, humour, some pulse racing sequences and even a wild, nude chase scene to the film’s overlong two-hour running time. But despite Tatum’s presence and Dunst’s kindly work, “Roofman” has a hard time finding its tone. A multi-hyphenate—it’s a romantic-true crime story with farce, light humor and loads of family drama. Tatum runs the gamut and hands in one of the most emotive performances of his career, but the film’s various elements feel like puzzle pieces that don’t quite fit together.
A fable that pits ego against ambition, acceptance against insecurity, “The Monkey King” is a new animated Netflix film starring the voices of comedian Jimmy O. Yang and Bowen Yang.
Based on a Chinese novel published in the 16th century during the Ming Dynasty attributed to Wu Cheng’en, the film centers around The Monkey King (Jimmy O. Yang), a rebellious monkey born from a magical rock. Filled with an exaggerated sense of self-worth, his ego has alienated him from friends and family.
“An old geezer once told me, ‘You don’t belong here,’” he says. “And he was right. I belong with the Immortal ones. I’ll become legendary and then they’ll have to accept me.”
Trouble is, to get the attention of the Immortals, led by the Jade Emperor (Hoon Lee), he’ll have to defeat at least 100 demons.
“One hundred demons,” he says, “coming up!”
Despite being told by his elder (James Sie) to, “know your place, young one,” the braggadocious warrior sets off with a rallying call of “Anyone need a hero?” On his journey to find immortality he looks to the duplicitous Dragon King (Bowen Yang) for help, does battle with Red Girl (Sophie Wu), gets his mighty fighting stick and meets his trusty (but underappreciated) sidekick Lin (Jolie Hoang-Rappaport). “Whatever the Monkey King does,” he says, “I do big!”
“The Monkey King” is a big action-adventure, one that moves at the speed of light, filled to wild battle scenes and slapstick humor. But at its heart, it is the story of a search for family, approval and a sense of belonging. The titular character is driven to fighting demons—literal and personal—as a way to assuage his feelings of seclusion from his peers who wouldn’t accept him for who he is. It provides the film’s emotional core, even if the movie’s unrelentingly frenetic pace threatens to overwhelm the message. A film that is all peaks and very few valleys, needs a moment or two of introspection. A few more heartfelt scenes between the Monkey King and Lin could have slowed the action, but upped the emotional impact.
The story feels episodic and, despite featuring characters that have endured since the Ming Dynasty, a tad generic in its animated form. Director Anthony Stacchi pumps it up with vibrant animation and production design that mixes familiar CGI art with flavorings of traditional Chinese brushwork, a couple fun Broadway style musical numbers and a collection of voice actors that bring the characters to life, but it reverberates with echoes of similar movies like “Emperor’s New Groove.”
“The Monkey King” has laughs and gags, mostly for young viewers, and diverting well-choreographed martial arts scenes, but offers very little new stuff in its retelling of an old tale.
