After an eight year gap between her last two films, Lynne Ramsay demonstrates all her strongest skills for using textural impressionism to complicate what could be taken as a straightforward domestic drama.
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Sure, it’s easy to tell where Roofman is going from the get-go – these “based on true events” crime stories tend to follow all the same beats. That’s okay though, when you tell a tight enough story with a big enough heart.
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