Of all the crazy things to happen in 2025 so far, was anybody expecting two filmmakers with reputations for being melodramatic– Darren Aronofsky and Derek Cianfrance — to branch out of their comfort zones and direct light-hearted films set in the late 1990s with a lot of comic relief?

Last month it was Aronofsky with Caught Stealing, and now Cianfrance gives us Roofman. Inspired by real incidents throughout North Carolina, Roofman is now one of my favorite movies of the year.

In late 1998, Jeffrey Manchester (Channing Tatum) is a divorced dad with a military background who is unemployed and can barely afford his kids’ birthday presents. Despite his failures, Jeff is very good on his feet and can come up with a plan and execute it very quickly — such as breaking into McDonald’s and stealing from the register to make up for his mistakes to his family.

But when he’s busted for a kidnapping along with a robbery and sent to prison, Jeff successfully breaks out and secretly begins living in the ceiling of a Toys “R” Us outside Charlotte, NC. Things take an unexpected turn when he becomes friendly with one of the store’s employees, single mom Leigh Wainscott (Kirsten Dunst), who is active in the choir and toy drive of the town’s Presbyterian church.

LaKeith Stanfield, Peter Dinklage, Emory Cohen, Juno Temple, Melonie Diaz, Ben Mendelsohn and Jimmy O. Yang are some of the recognizable faces in the supporting cast. Roofman was co-written by Cianfrance and Kirt Gunn, and is the director’s return to the big screen following his HBO mini-series “I Know This Much is True” (2020).

Besides being an funny and charming comedy-drama, the new picture also counters Kogonada’s A Big, Bold, Beautiful Journey in reminding us that product placement incorporated into a plot can be easily forgiven, or at least less distracting, if the story and final product are good enough. Though lighter in tone than his usual projects, Roofman does still have the cinematic DNA Cianfrance is known for, and it works well with a fairly modest story.

Tatum remains one of the best leading men of his generation and Dunst, a lifelong favorite actress of mine, delivers the best performance in the movie, even making me cry during a scene near the end. If spooky films aren’t your thing during October, Roofman gets a recommendation from me this month.

“Chainsaw Man — The Movie: Reze Arc,” the Japanese anime from Crunchyroll and Sony, claimed the top spot at the domestic box office this weekend, taking in an estimated $17.25 million, according to Comscore.

The R-rated movie, based on Tatsuki Fujimoto’s popular manga series, follows teen demon hunter Denji, who is betrayed by the yakuza and killed as he attempts to pay off the debts he inherited from his parents. His beloved chainsaw-powered dog Pochita makes a deal and sacrifices his life, fusing with Denji who is reborn with the ability to transform parts of his body into chainsaws.

“Chainsaw Man,” already a global hit, delivered a blow to Disney and 20th Century’s biopic “Springsteen: Deliver Me From Nowhere,” starring Jeremy Allen White, which came in a disappointing fourth place with an estimated $9.1 million.

Based on the 2023 Warren Zanes book of the same name, the film plumbs Springsteen’s life and career through the creative process, during the making of his 1982 acoustic album “Nebraska.”

The Times described the movie as a “thoughtful exploration of the creative process” that runs out of steam by the end, “meandering aimlessly into a depressive period of Springsteen’s, and it never quite regains its footing.”

In its second week out, the horror sequel “Black Phone 2” took the No. 2 slot, earning an estimated $13 million over the weekend, giving the Universal and Blumhouse movie a domestic total of $49.1 million.

Rounding out the third spot is Paramount’s romantic drama “Regretting You,” the latest film adaptation of novelist Colleen Hoover (“It Ends With Us”). Starring Allison Williams and Dave Franco, it opened to an estimated $12.5 million domestically.

The wait is over! October 24th brought the release of the highly anticipated psychological horror film, Shelby Oaks, and the answer is a resounding “Yes”—you absolutely need to see this movie. Shelby Oaks is a tense film that will keep you guessing right up to its terrifying final moments.

Shelby Oaks grips you from the start, chronicling a desperate search that morphs into a dangerous obsession. When the police dismiss her sister’s disappearance, Mia, played with determined resolve by Camille Sullivan, embarks on a solo mission to find her missing sister, Riley. A mysterious tape leads Mia to crucial new clues, pushing her deeper into an investigation of her own. She must ultimately confront a horrifying possibility: that something chillingly supernatural is at play.

The emotional weight of the film rests squarely on its two leads, and they carry it magnificently. Camille Sullivan delivers an intense, compelling performance as Mia, exuding a steely confidence and unshakable resolve that grounds the desperate search.

Equally fantastic is Sarah Durn, who plays Riley, the missing sister. Durn powerfully conveys trauma, fear, and deep-seated horror, giving the viewer a visceral connection to the character. Both actresses perform amazingly well, making their characters feel honest and deeply sympathetic. Their passionate intensity drives the entire narrative.

Shelby Oaks marks the feature directorial debut of Chris Stuckmann, and we applaud his accomplishment. Stuckmann crafts a film defined by intense tension, a uniquely fascinating story, and multiple twists you won’t see coming. The pacing is a prime example of great timing, carefully unfolding the story to maximize the impact of every revelation.

The film’s atmosphere is palpable. The cinematography beautifully captures a sense of darkness and decay, often showing scenes choked by mold, rot, and general ‘ick.’ While the majority of the special effects look incredibly well done, a few minor CGI elements involving dogs, unfortunately, stood out as slightly disappointing. However, the rest of the film’s visual design is fantastic, contributing heavily to its unsettling tone.

Shelby Oaks keeps the audience on the edge of their seats from beginning to end. It’s a terrifying, thought-provoking film. It lingers long after the credits roll, forcing you to think about the unsettling reality of families searching for lost loved ones and those who have been forgotten.

I highly recommend seeing Shelby Oaks; luckily, you can watch it now on the big screen. Be sure to watch our interview with star Sarah Durn (Riley), who gives us insight into the film and her role.