Channing

ROOFMAN 

(15) 126mins

★★★☆☆

A NICE guy doing bad things isn’t an original premise for a comedy drama. 

But base it on the true story of an escaped felon hiding out in a toy shop and things get more interesting. 

Channing Tatum plays Jeffrey Manchester, the charismatic convict from North Carolina with the “you couldn’t make it up” life story. 

An ex-military man, Manchester has been struggling financially since being decommissioned. 

So to support his family he turns to a professional life of crime. 

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His first attempt at dropping through the ceiling of a McDonald’s and emptying their tills is such a success he repeats this style of heist 45 more times. 

As a non-violent robber who offers people his coat while holding them up at gunpoint, he soon earns himself the local moniker of “Roofman”. 

As police put it, he’s a genius, but also an idiot. 

When eventually caught and sentenced to four decades behind bars, Manchester swiftly escapes jail and goes on the run. 

Looking for a place to take cover he lands on a Toys R Us store and sets up home in a crate under the eaves. 

For six months he sleeps undetected, surviving on stolen M&M’s, while watching jobsworth boss Mitch (Peter Dinklage) on CCTV for entertainment and ultimately falling for employee Leigh (Kirsten Dunst), a divorced mum. 

The tale of how their romance blossoms — as Manchester increasingly risks his chances outside the store’s four walls — would seem utterly far-fetched, if it wasn’t for the fact that in 2004 it all actually happened. The chemistry between the leads is convincing. 

Dunst as Leigh, the church-going single mum falling in love while being unknowingly duped, reminds you that no matter how outwardly likeable Manchester seems, he continually hurt people with his odd mix of arrogance, immaturity and intelligence.

He wants it all to be real, while knowing that it can’t be. 

Director Derek Cianfrance (Blue Valentine) periodically lightens things up with various meme-worthy set pieces involving Tatum barely clad in feather boas, or wearing roller blades or completely starkers with only a fan to protect his modesty. 

But it is the pondering over how decent a person, or not, Manchester really was that will keep you gripped. 

GOOD FORTUNE 

(15) 97mins       

★★★☆☆

KEANU Reeves is at his Bill and Ted-esque best in this silly, but very funny, light-hearted bromance about a guardian angel who can’t quite get a grip on his ­heavenly duties. 

Written by Aziz Ansari (Master Of None) Reeves is Gabriel, a rookie winged protector limited to saving people from “texting while driving” catastrophes. 

He’d like to rescue lost souls too but his boss Martha (Sandra Oh) thinks he’s not ready to be promoted. 

One of his celestial charges is Arj (Ansari) who despite being well qualified, can’t catch a break and is sleeping in his car while doing gig economy work in LA for an odd-jobs app. 

A stint as assistant for billionaire Jeff (Seth Rogen) – who spends his days shopping for Rolexes and sitting in his sauna – only makes him feel more of a failure. So Gabriel steps in to help by facilitating a life swap between the two, which he hopes will make Arj appreciates what he already has. 

The script lacks the ­substance it was probably aiming for, and there’s far too much chatting about chicken nuggets, but this comedy does deliver lots of laughs. 

AFTER THE HUNT 

(15) 139mins  

★★☆☆☆

SET in the academic enclaves of a rarefied American Ivy League University, this affected campus tale from director Luca Guadagnino could do with a tutorial to discuss what its own discourse is. 

Julia Roberts plays Alma Imhoff, a Yale philosophy professor and feminist who is idolised by her students. 

Imhoff and husband Frederick (Michael Stuhlbarg) host bourgeois soirees in their art-filled pad where favourite students including Maggie (Ayo Edebiri), and Hank (Andrew Garfield) gather to muse and debate. 

But when Maggie accuses Hank of sexual assault and turns to her tutor for guidance, beliefs, boundaries and loyalties blur for both women. 

Roberts is exceptional as Imhoff but the pace is so laboured and the ostentatious dialogue so pleased with itself it feels like a dull self-congratulatory lecture. 

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A repetitive ticking pendulum only emphasises the plodding pace and a subplot about stomach ulcers adds little. Some valid social commentary around generational divides is quickly drowned out by more droning. The many lingering close-ups are stylistically credible yet still dull. 

• Laura Stott         

Nothing says “awards season” like a fall film festival. The Times’ reporters, critics, videographers and photographers are on the ground at the 2025 Toronto International Film Festival, bringing you all the news from TIFF’s 50th edition. Our coverage includes our TIFF Daily newsletter, along with photo and video highlights from the Los Angeles Times Studio.

Bookmark this site and revisit all weekend to see new actors, directors, documentarians and international icons who couldn’t wait to say hi to us. And be sure to check out our complete coverage of TIFF 2025 throughout the festival.

Elle Fanning from the film “Sentimental Value.”

(Christina House/Los Angeles Times)

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2

1. Back row left to right, Nadia Latif and Willem Dafoe. Front row left to right, Anna Diop and Corey Hawkins from the film “The Man in My Basement.” 2. Anna Diop.

Channing Tatum, Kirsten Dunst and Derek Cianfrance from the film “Roofman.”

Back row left to right, Anita Afonu and Ben Proudfoot. Front row left to right, Nana Adwoa Frimpong and Ghanaian Brandon Somerhalder from the film “The Eye of Ghana.”

Pete Ohs from the film “Erupcja.”

Left to right, Lisa Barros D’sa, Glenn Leyburn and Eanna Hardwicke from the film “Saipan.”

Director Oliver Laxe from the film “Sirât.”

Kirsten Dunst from the film “Roofman.”

Stephen Amell, left, and Sean Astin from the film “Little Lorraine.”

Elle Fanning and Stellan Skarsgard from the film “Sentimental Value.”

than Hawke from the film “The Lowdown.”

Riz Ahmed and Aneil Karia from the film “Hamlet.”

Left to right, Thomas DeGrezia, Director Eif Rivera, Brad Feinstein and Christina Weiss Lurie and Diego Boneta from the film “Killing Castro.”

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1. Jay McCarrol. 2. Matt Johnson from the film “Nirvana: The Band – The Show – The Movie.”

Connor O’Malley, Vanessa Bayer, Kate Berlant, Claudia O’Doherty, Eric Rahill and John Early from the film “Maddie’s Secret.”

Channing Tatum from the film “Roofman.”

Left to right, Samara Weaving, Kyle Gallner, seated, and Adam Carter Rehmeier from the film “Carolina Carolina.”

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1. Samara Weaving from the film “Carolina Carolina.”

Left to right, Idan Weiss and Agnieszka Holland from the film “Franz.”

Left to righy, Chris Candy, Jennifer Candy and Colin Hanks from the film “John Candy: I Like Me.”

Potsy Ponciroli from the film “Motor City.”

Back row, co-Director Tom Dean and Emilia Jones. Front row, co-Director Mac Eldridge and Nick Robinson from the film “Charlie Harper,”

Left to right, Megan Lawless, Cooper Tomlinson, Curry Barker, Michael Johnston and Inde Navarrette from the film “Obsession.”

Back row, Chandler Levack and Juliette Gariepy. Middle row, Stanley Simons and Barbie Ferreira. Front row, Devon Bostick from the film “Mile End Kicks.”

The program for the upcoming Toronto International Film Festival came into sharper view with Monday’s announcement of the majority of titles for the event’s galas and special presentations section. Along with TIFF’s news, some of the larger fall festival and awards season is also beginning to take shape.

Toronto, long known as a powerful showcase for launching awards-hungry and commercially ambitious fall titles, has been seen as losing some of its strength in recent years to festivals in Cannes, Venice and Telluride. This year’s TIFF program, which marks its 50th edition, will be closely watched for how its titles are received not only at the festival itself, but in the months ahead.

Among the notable world premieres in Monday’s announcement are Aziz Ansari’s feature directorial debut “Good Fortune,” a comedy of identity-swapping and self-discovery starring Ansari and Seth Rogen with Keanu Reeves as an inept angel, and James Vanderbilt’s “Nuremberg” starring Russell Crowe as imprisoned Nazi Hermann Göring, with Rami Malek as the psychiatrist tasked with interviewing him.

Maude Apatow will make her feature directorial debut with “Poetic License,” starring her mother Leslie Mann alongside Andrew Barth Feldman and Cooper Hoffman. “True Detective” creator Nic Pizzolatto will also make his feature directing bow with “Easy’s Waltz,” a drama of down-on-their-luck entertainers starring Vince Vaughn and Al Pacino.

TIFF will host the world premiere of Bobby Farrelly’s comedy “Driver’s Ed,” starring Kumail Nanjiani, Sam Nivola and Molly Shannon. Alex Winter directs and also appears in the comedy “Adulthood” alongside Josh Gad, Kaya Scodelario and Billie Lourd. David Mackenzie’s crime thriller “Fuze” stars Aaron Taylor-Johnson, Sam Worthington, Theo James and Gugu Mbatha-Raw.

Baz Luhrman will unveil “EPiC: Elvis Presley in Concert,” which utilizes previously unseen footage the director discovered while researching his 2022 film “Elvis.” The result is what Luhrman has described as “not specifically a documentary, nor a concert film.”

Saoirse Ronan stars in “Bad Apples,” which is premiering at the 2025 Toronto International Film Festival.

(Republic Pictures )

Other world premieres include Jonathan Etzler’s “Bad Apples,” starring Saoirse Ronan; David Michôd’s “Christy,” starring Sydney Sweeney as boxer Christy Martin; and Alice Winocour’s fashion world drama “Couture,” starring Angelina Jolie.

At this stage in the season, interpreting how a Toronto title is announced can give some clues as to where it may be popping up beforehand. “International Premiere” can mean a title is also first playing a week earlier at Telluride, while “North American Premiere” can mean something is playing first at Venice. “Canadian Premiere” means it is likely playing both Telluride and Venice (or already premiered at Cannes) before coming to Toronto.

The only title listed as an international premiere is Clint Bentley’s “Train Dreams,” which premiered earlier this year at the Sundance Film Festival.

North American premieres likely headed to Venice include Gus Van Sant’s “Dead Man’s Wire,” starring Bill Skarsgård and Colman Domingo; Guillermo del Toro’s “Frankenstein,” starring Oscar Isaac and Jacob Elordi; Mark Jenkin’s “Rose of Nevada,” starring Calum Turner and George MacKay; Mona Fastvold’s “The Testament of Ann Lee,” starring Amanda Seyfried; and Benny Safdie’s “The Smashing Machine,” starring Dwayne Johnson.

Canadian premieres include Edward Berger’s “Ballad of a Small Player” starring Colin Farrell; Jafar Panahi’s Cannes-winning “It Was Just an Accident”; Richard Linklater’s “Nouvelle Vague,” about the making of Jean-Luc Godard’s “Breathless”; Kleber Mendonça Filho’s “The Secret Agent,” which won best actor at Cannes for Wagner Moura; Daniel Roher’s “Tuner,” starring Leo Woodall and Dustin Hoffman; and Joachim Trier’s “Sentimental Value,” starring Stellan Skarsgård and Renate Reinsve.

Michaela Coel, left, and Ian McKellen star in “The Christophers,” which is premiering at the 2025 Toronto International Film Festival.

(Department M / Butler & Sklar Production)

Toronto’s previously announced titles include the opening night selection “John Candy: I Like Me,” a documentary on the beloved Canadian-born actor, directed by Colin Hanks and produced by Ryan Reynolds, as well as the world premiere of Rian Johnson’s third Benoit Blanc film starring Daniel Craig, “Wake Up Dead Man: A Knives Out Mystery.”

Other previously announced world premieres include Derek Cianfrance’s “Roofman,” starring Channing Tatum and Kirsten Dunst; Nicholas Hytner’s “The Choral,” starring Ralph Fiennes; Paul Greengrass’ “The Lost Bus,” starring Matthew McConaughey; Hikari’s “Rental Family,” starring Brendan Fraser; Nia DaCosta’s “Hedda,” starring Tessa Thompson; Steven Soderbergh’s “The Christophers,” starring Ian McKellen and Michaela Coel; and Agnieszka Holland’s “Franz,” a biopic of Franz Kafka.

Other titles already announced for TIFF that will be premiering elsewhere include the Canadian premiere of Chloé Zhao’s highly anticipated “Hamnet,” starring Paul Mescal and Jessie Buckley; and the North American premiere of Rebecca Zlotowski’s “A Private Life,” starring Jodie Foster, which premiered at Cannes.

More of the Toronto program will be announced in the coming days and weeks, including the Platform section for emerging voices and the popular Midnight Madness section. This year’s Toronto International Film Festival runs from Sept. 4 to 14.