TIFF 2025: Roofman and Motor City

An energized ‘silent’ action film and a quirky narrative about a real life American who hid from authorities inside a local Toys”R”Us; those are the taglines for Motor City and Roofman, and highlight the typically diverse slate of films offered by the Toronto International Film Festival.

Motor City

The lack of dialogue in Motor City could have easily been a gimmick, but thanks to Potsy Ponciroli‘s assured direction, the film soars to its full creative heights in what is clearly an impressive effort from an emerging filmmaker. Despite its lack of dialogue, the film manages to inject itself with ample dramatic gravitas, all in the midst of its blood soaked action.

Starring Alan Ritchson, the film follows an honest auto-worker, John Miller, that falls in love with Sophia (Shailene Woodley), who happens to be the former lover of a ruthless gangster (Reynolds, played by Ben Foster). John ends up getting framed for a crime he didn’t commit, but seeks vengeance on the very obvious perpetrators who put him in this precarious situation.

Set in 1970s Detroit, Motor City is infused with graphic novel sensibilities, but feels renewed in its gritty, yet refined tonal qualities. There’s something very cinematic about the film, and this perhaps stems from its modernized rendition of a silent film. A silent film, that albeit, has ample sound and destructive ambiance.

The film is loud and unapologetically violent, with narration that’s grounded in the more basic elements of storytelling one would expect from a silent era film. Emotions and plot twists are centred around facial expressions and thoughtful framing, creating an environment where the lack of dialogue feels inherently natural. Ritchson is impressively expressive, with most of the narrative’s emotional weight resting on his shoulders, and perhaps gives one of his most dramatic performances to date. Woodley and Foster are expectedly capable in their roles as well. Foster, in particular, chews up the scenery, and serves as a menacing, yet surprisingly humanistic presence as the film’s antagonist.

Motor City serves as a reminder that upending traditions can be creatively satisfying if done right. Ponciroli has crafted a unique cinematic experience that doesn’t feel stale, and has a renewed sense of creativity that still feels grounded in tradition in some ways. This is a film that certainly has the potential to become a cult and pulp classic for years to come.

Roofman

Based on real events, Roofman injects humour and emotion into a headline-grabbing story, in what seems like a deviation from Derek Cianfrance‘s usual filmography. It’s surprising that this is a film coming from the mind behind Blue Valentine and The Place Beyond the Pines, but on further evaluation, the chaotic calamity of deranged interpersonal relationships still binds these stories together. And Cianfrance is so fittingly capable of crafting narratives of this nature, elevating Roofman to much more than a commercially inclined crime story.

After being caught by local authorities for his string of robberies, Jeffrey Manchester (Channing Tatum) escapes his prison sentence and hides out in a Toys”R”Us. As a former US Army Reserve officer, he utilizes his skills to evade any detection, but also forms a relationship with Leigh Wainscott (Kirsten Dunst), an employee of the store. But as Manchester continues to expose himself during the day, it’s clear he won’t be able to evade the law forever. The film also features strong supporting turns from Peter Dinklage, Ben Mendelsohn, Uzo Aduba and Juno Temple.

As Manchester, Tatum is perfectly cast in role that enables him to utilize both his comedic and dramatic range as a performer. While it’s far from his intense dramatic turn in Foxcatcher – which is still his best performance to date – his display of internal turmoil, which gets interspersed with the film’s lighter narration, is almost pitch perfect. His comedic moments are also naturally on point, which should come as no surprise to anyone familiar with his work over the years.

Cianfrance‘s thoughtful direction also adds a tender and solemn backdrop to his comedic canvas, creating a film that is far more accessible than the subject matter might suggest. Having said that, its emotional beats are never muted, and although the narrative isn’t overly contemplative, there’s still plenty of food for thought here. Roofman doesn’t necessarily interrogate the fallacies of the American dream, but it does illustrate how fractured this idealistic sentiment of a dream can be.

By the end of the film, one can’t help but empathize with – and root for – Manchester as an imperfect protagonist. Cianfrance never justifies the unlawful aspects of his actions, but instead, leans on the emotional roots of his actions. At its core, Roofman is a simple character study set within the faults of American idealism, and in turn, offers a sombre reality check. The film is also executed with deliberate levity, and it just as entertaining as it is thoughtful.