The Roses — Film Review

A remake of the 1989 classic The War of the Roses, this modern reinterpretation keeps the core premise: a black comedy of a married couple turning against each other after they divorce. The Roses has the sharp wit of screenwriter Tony McNamara and the always reliable Benedict Cumberbatch and Olivia Colman, but the sum of its parts isn't all that successful.

Devon makes an unconvincing stand-in for California, where architect Theo (Cumberbatch) and chef-turned-stay-at-home-mum Ivy (Colman) reside. A picture-perfect couple, cracks form in their marriage when Theo is fired after an architectural disaster, and Ivy becomes an overnight chef superstar. With roles reversed, their insecurities creep to the surface and eventually spats turn into physical violence.

This is less mean-spirited than the original film adaptation. A significant portion of the film is spent getting to know Theo and Ivy, and the explosive physicality of their conflict only materialises in the final twenty minutes. McNamara and director Jay Roach swap out nihilism in favour of empathy, but in the process the story loses its edge. The Roses attempts to portray Theo and Ivy as equally destructive, but the more grounded tone means the couple are striving to make things work until those final scenes.

Most frustratingly, there are some interesting themes peppered throughout the runtime that never amount to anything. McNamara poses the question: what is a marriage? Through The Roses, he posits that marriage is about having a life-long partner for support and companionship; being there for you when it matters the most. But the rushed finale doesn't give time to draw any conclusions or offer any profound messaging.

There's also a missed opportunity tying into the film's themes. Theo and Ivy are surrounded by other couples who make fun side characters, but everyone is in heteronormative relationships. Monogamous marriages are the product of a heteronormative society, and by having even just one of the film's couples be a gay relationship would've added much more depth to the core themes. There could have been commentary on how ridiculous some stereotypical hetero relationships are, or could have answered whether The Roses is commenting on hetero marriage tropes or arguing that having a life-long partner is a human need.

Thankfully, this is still a fun ride. McNamara's dialogue crackles with hilarious remarks and one-liners. At the heart of The Roses is Cumberbatch and Colman—this film simply would not work without them. They effortlessly nail the comedy, whether it's subtle or bombastic, but they also bring emotional depth to their characters when the script doesn't. The Roses is worth it for Cumberbatch and Colman, but it could have been so much more.

⭐⭐⭐

The Roses is in cinemas now.