By: Quinn Que
The Roses arrives as a clever but uneven reimagining of the divorce comedy, one that showcases two powerhouse performers while struggling to give us much reason to care. Director Jay Roach and screenwriter Tony McNamara attempt to modernize Warren Adler’s caustic material War of the Roses for contemporary audiences, with the film’s commitment to naturalistic storytelling proving to be both its greatest strength and most significant weakness.
The story follows once picture-perfect couple Ivy Rose (Olivia Colman) and Theo Rose (Benedict Cumberbatch), whose seemingly ideal marriage begins to unravel when a reversal of fortunes in their careers finds Theo and Ivy trading roles as breadwinner and house spouse before ultimately trading barbs as equally resentful partners. Their escalating marital warfare plays out alongside their friends Barry (Andy Samberg) and Amy (Kate McKinnon), creating a broader ensemble piece that examines modern relationships through a sardonic lens.
Colman and Cumberbatch demonstrate their considerable talents, trading acid-tongued dialogue with the kind of articulate wit that’s delivered ten times better than most actors could. However, there’s something missing in the writing itself, which undermines the proceedings and may leave audiences catching their watches repeatedly before the third act.
While the script does occasionally provide a few laughs, it more often just leverages awkwardness that’s supposed to pass as humor but mostly falls flat. The supporting cast delivers mixed results, with some performers struggling to match the leads’ naturalistic energy while others (particularly Allison Janney’s cameo as a no-nonsense divorce attorney) provide welcome moments of sharp comic relief. The only real standout scenes are a pointed legal confrontation featuring Colman, Cumberbatch, Janney and Sandberg; and a volatile house fight with deadly stakes. One wonders if these scenes weren’t too little too late though.
Roach’s direction emphasizes the subtle approach that makes the characters feel grounded, but this same commitment to realism creates pacing issues as the film feels sluggish or dragging at times, at least until the relationship fully implodes. McNamara’s script establishes character dynamics effectively, but the third act’s descent into more extreme physical comedy and outright chaos feels jarring and inconsistent. Roach and his leads turn into something not quite aligned with the intended progression for the story for which it was hoped. One wonders if the genre needs for heightened comedic moments were clumsily stuffed towards the back end, almost tacked on.
The Roses may partially succeed as a showcase for its talented leads, but it can’t quite create a cohesive vision that justifies its existence alongside the 1989 original adaptation of Adler’s book. The film works best when it embraces its performers’ strengths but struggles when trying to balance realistic relationship dynamics with the darker comic escalation the story demands. The film is worth watching for Colman and Cumberbatch devotees, but it is unlikely to leave lasting impression.