Jay Roach’s reimagining of “The War of the Roses” represents a frustrating case of A-list talent and solid source material undermined by tonal confusion and directorial miscalculation. Despite boasting Benedict Cumberbatch and Olivia Colman in the lead roles, along with supporting turns from Allison Janney, Kate McKinnon, and Andy Samberg, “The Roses” never decides whether it wants to be a biting black comedy or a sanitized romantic dramedy. The result feels like a declawed version of Warren Adler’s vicious 1981 novel and Danny DeVito’s memorable 1989 adaptation, trading genuine malice for safe laughs that satisfy no one.
Roach, best known for the “Austin Powers” franchise and “Meet the Parents,” brings his crowd-pleasing sensibilities to material that demands a sharper edge. The decision to soften the source material’s sadistic tone fundamentally undermines what should be a battle royale between two equally matched combatants.
Let’s click play on the trailer before delving further into Searchlight’s latest offering.
The film opens with Theo (Benedict Cumberbatch) and Ivy Rose (Olivia Colman) in marriage therapy, exchanging barbs while maintaining British decorum. When asked to list ten things they love about each other, Theo begins: “The shape of her head is somewhat pleasing at a distance.” Ivy responds by calling her husband a wanker, a loser, and several unprintable expletives. Despite the venomous words, Ivy’s mischievous smile and Theo’s burst of laughter suggest this marriage might be salvageable—though their therapist disagrees.
The story rewinds to show how Theo, an architect, met Ivy, a promising chef, in a London restaurant kitchen. After instant attraction leads to passion in a walk-in cooler, we fast-forward a decade to their life in Mendocino, California, raising twins Hattie (Delaney Quinn) and Roy (Ollie Robinson). Ivy sacrificed her culinary career for motherhood while Theo became a renowned architect preparing to unveil a naval museum.
Theo buys Ivy a building where she opens “We’ve Got Crabs,” a bistro that gains popularity after a positive review and eventually earns her a James Beard award with nine restaurants. Meanwhile, Theo’s ship-shaped museum literally sinks during a storm, becoming an internet meme and destroying his career. Now a stay-at-home father, Theo focuses on training the twins as star athletes while jealousy poisons the marriage.
Benedict Cumberbatch and Olivia Colman clearly enjoyed making this film, their real-life friendship evident throughout. However, as a romantic couple, their chemistry feels unconvincing. Cumberbatch brings his trademark intensity to Theo’s narcissistic architect, but the character lacks the depth to make his descent into pettiness compelling. Colman fares better as Ivy, finding moments of genuine pathos beneath the surface cruelty, though the script doesn’t provide enough psychological grounding for her transformation.
The supporting cast delivers exactly what you’d expect. Allison Janney stomps through her scenes as an over-the-top divorce lawyer, while Kate McKinnon’s brusque Amy unsubtly pursues Theo. Andy Samberg appears as Theo’s lawyer, though none of these talented performers can elevate the material beyond broad caricature.
Florian Hoffmeister’s cinematography provides the film’s most consistent strength, capturing both the stunning Mendocino coastline and the couple’s sleek modernist home with visual appeal that the screenplay lacks. The production design, particularly Theo’s AI-equipped dream house complete with HAL references to “2001: A Space Odyssey,” creates an appropriate battleground for domestic warfare.
Tony McNamara’s screenplay represents the film’s biggest disappointment. Known for his collaborations with Yorgos Lanthimos on “The Favourite” and “Poor Things,” McNamara delivers limp and glossy dialogue that renders these characters unfunny and unnatural. Had Lanthimos directed this material, we’d likely have a darker comedy and significantly better film.
The script’s fundamental problem lies in its treatment of escalating violence as harmless pranks rather than genuine attempts at mutual destruction. It’s a tonal issue which should’ve been used with more calculation — no better example than when Ivy pulls a pistol and shoots at Theo. Feeding Coleman’s Ivy a cake with ingredients she’s severely allergic to is a bit more tame, but still… their willingness to stay in the battle amid egregious actions removes all stakes from their conflict.
The editing by Jon Poll maintains solid pacing, though no amount of cutting can overcome the tonal inconsistencies brought by the screenplay. The sound design and score by Rolfe Kent supports without much enhancing to the endeavor.
Where previous adaptations found dark humor in genuine malevolence, Roach’s version pulls every punch. The couple’s attempts to kill each other with guns and chef’s knives raise eyebrows rather than pulses. Their escalating cruelty feels like performance rather than authentic rage, particularly in absurd sequences where Ivy tests Theo by eating raspberries despite being deathly allergic.
Jay Roach demonstrates competent direction throughout, but his crowd-pleasing instincts prove wrong for this material. The edge required to make domestic warfare compelling gets sanded away in favor of broad humor that lacks both strong writing and meaty character development.
“The Roses” represents a missed opportunity to explore contemporary marriage dynamics through the lens of role reversal and professional jealousy. The premise of partners’ contempt turning deadly should provide sadistic good fun, but Roach’s family-friendly approach neuters what could have been a biting commentary on modern relationships.
While Cumberbatch and Colman’s appealing energy provides some entertainment value, spending time with these sourpusses feels more exhausting than enlightening. Their unconvincing attempts at mutual destruction lack the commitment that would make their hatred feel authentic or their reconciliation meaningful.
Letter Grade: C