The Roses (2025) - Film Review

      The Roses, 2025.

      Directed by Jay Roach.

      Featuring Benedict Cumberbatch, Olivia Colman, Andy Samberg, Kate McKinnon, Allison Janney, Ncuti Gatwa, Jamie Demetriou, Zoë Chao, Belinda Bromilow, Sunita Mani, Delaney Quinn, Hala Finley, Ollie Robinson, Wells Rappaport, Caroline Partridge, Margaret Clunie, Ollie Dabbous, Belinda Bromilow, Akie Kotabe, Emily Piggford, and Matt Corboy.

      SYNOPSIS:

      Beneath the surface of an apparently perfect couple lies a volatile mix of competition and resentment, which is ignited when the husband's career aspirations come crashing down.

      If a remake of War of the Roses is necessary (as it seems every property under the newly obtained Fox license must be reinterpreted with Disney’s control), then director Jay Roach (Meet the Parents) is a reasonable, strategic selection. The sharp-witted Tony McNamara (Poor Things) is an even more exciting choice, serving as the writer adapting both the original 1989 film directed by Danny DeVito and the book by Warren Adler. While Roach may lack a distinct visual style (he doesn’t), the premise allows him to showcase his talent for creating outrageously comedic scenes that are absurdly funny yet grounded in some form of genuine emotion. In this project, he also collaborates with a recognized Oscar-nominated screenwriter who skillfully delivers sharp exchanges between the bitter couple.

      Some of this effectiveness has transitioned from script to screen, but largely, The Roses disappointingly attempts to be little more than a contemporary rendition, adhering closely to the original material. The concluding act becomes lively, provoking mean-spirited laughter by effectively highlighting the selfish, egotistical, and narcissistic traits shared by architect Theo (Benedict Cumberbatch) and seafood chef/restaurant owner Ivy Rose (Olivia Colman), both of whom have considerable room for improvement. There is no clear right or wrong in their dynamic; they both embody the very definition of self-absorbed instigators. Consequently, as their cruelty towards each other escalates, viewers are less concerned with the morality of the situation and more entertained by their evolving hatred, which escalates from verbal insults to slapstick pranks and physical antics.

      This presents a challenge, as Jay Roach is permitted only about one-third of the film's runtime to operate within his comedic strength, which contributed to the success of Meet the Parents and serves as part of the marketing allure of this remake. While the gradual buildup is undeniably vital to ensure the audience's emotional response in the third act, the preceding content feels like a tonal balancing act he struggles to manage, resulting in a movie salvaged primarily by the biting insults exchanged between the couple. The ensemble cast fares well, with Andy Samberg and Kate McKinnon giving standout performances as a married couple feigning happiness in public.

      Regarding Theo and Ivy – who connect over mutual dissatisfaction at work and share an intimate moment in her workplace’s janitor's room – the banter is present (he is a needy workaholic, while she struggles to take anything seriously and can't apologize) but intensifies following a disastrous incident when a severe storm destroys one of his buildings, derailing his career and turning him into a social media meme. In contrast, Ivy's career flourishes as the storm fortuitously attracts a food critic, propelling her crab shack to sudden fame. His professional life is in ruins, while her success is on an upward trajectory.

      The Roses aims to explore various themes, including gender roles, work/life balance, and the concept that their children (who grow from young to teenagers during the narrative, portrayed by different actors) possess more maturity than their parents and wouldn't be troubled by a divorce. The film even touches on modern issues like technological blackmail, including deepfaking, but does so without depth or direction. It constantly signals to viewers that it is a contemporary interpretation, lacking a clear understanding of how to effectively incorporate these elements beyond mere acknowledgment.

      Moreover, the editing is as awkward as the storytelling, with confusing transitions failing to depict the passage of time meaningfully. In one instance, while Ivy informs Theo over the phone about her flight to LA, it abruptly cuts to her arriving home after what appears to be days. Additionally, the film struggles to integrate genuine emotions and conflicts. Ivy's growing resentment towards Theo for having a better bond with the children feels forced and artificially escalates their conflict.

      Due to its rapid time shifts, the film does not adequately depict how Ivy's newfound popularity would lead to her becoming comically distant from her children. It is also unrealistic for the kids to abruptly become fitness-oriented at their father's behest. Much of what is depicted, which aims to be either humorous or dramatic, feels like