The Roses (2025) Movie Review: A Sharp but Uneven Remake That Thrives on Colman and Cumberbatch’s ChemistryThe Roses, a satirical black comedy directed by Jay Roach and written by Tony McNamara, hit theaters on August 29, 2025, under the Searchlight Pictures banner. Starring Olivia Colman and Benedict Cumberbatch as Ivy and Theo Rose, this reimagining of Warren Adler’s 1981 novel The War of the Roses (and its 1989 film adaptation) attempts to modernize a vicious tale of marital collapse with a glossy, rom-com sheen. Supported by a robust ensemble including Andy Samberg, Kate McKinnon, and Allison Janney, the film promises a biting exploration of love, ambition, and resentment. But does it deliver the caustic punch of its predecessor, or does it wilt under its own ambitions? Here’s an 800-word review for your blog, diving into its highs, lows, and everything in between.Plot OverviewThe Roses opens in medias res, with Ivy (Colman) and Theo (Cumberbatch) in a marriage counseling session, trading barbed compliments that escalate into vicious insults before dissolving into laughter—a glimpse of their dynamic, where love and hate blur. The film flashes back to their meet-cute in a London restaurant kitchen in 2011, where Ivy, an aspiring chef, and Theo, a frustrated architect, spark instant chemistry, culminating in a steamy encounter in a walk-in freezer. They marry, move to Mendocino, California, and raise twins, Hattie and Roy. Initially, Theo’s career soars while Ivy sacrifices her ambitions to raise their kids. A decade later, a storm destroys Theo’s prized maritime museum, turning him into a viral meme and a stay-at-home dad, while Ivy’s seafood restaurant, You’ve Got Crabs, becomes a sensation. As their roles reverse, resentment festers, and their once-loving marriage spirals into a war of petty pranks, property destruction, and life-threatening schemes, all underscored by sharp British wit and modern gender dynamics.Performances: Colman and Cumberbatch Carry the FilmOlivia Colman and Benedict Cumberbatch are the film’s beating heart, delivering performances that elevate an uneven script. Colman’s Ivy is a volatile blend of bubbly charm and explosive frustration, her comedic timing impeccable as she hurls profanities with aplomb—particularly the C-word, which she lands with devastating precision. Cumberbatch, not typically known for comedy, surprises as Theo, a self-righteous man-child whose dry wit and subtle vulnerability make him both infuriating and relatable. Their chemistry, while not as sexually charged as the 1989 film’s Michael Douglas and Kathleen Turner, crackles with intellectual sparring, making their banter a highlight. Critics praise their “droll perfection” and ability to “leave dazzling trails of repartee,” though some note a missing spark in their romantic connection.The supporting cast is a mixed bag. Andy Samberg and Kate McKinnon play Barry and Amy, American friends whose roles feel underwritten. McKinnon’s over-the-top, horny oddball shtick clashes with the leads’ nuanced performances, while Samberg’s subdued Barry struggles to leave an impact. Allison Janney shines in a brief but commanding role as Ivy’s divorce lawyer, her Rottweiler-assisted scene-stealing moment begging for more screen time. Ncuti Gatwa, Zoë Chao, and Jamie Demetriou round out the ensemble, with a chaotic dinner party sequence showcasing their ability to amplify the Roses’ escalating dysfunction.Direction and Writing: A Tonal Tug-of-WarJay Roach, known for Meet the Parents and Austin Powers, brings a glossy, mainstream sensibility to The Roses, but his direction struggles to balance the film’s competing tones. Tony McNamara’s script, lauded for its “razor-sharp” dialogue and “spectacular flights of profanity,” injects modern themes of ambition and gender roles, making this less a remake and more a reimagination. The first half, a tender rom-com tracing the Roses’ love story, is engaging, with energetic vignettes and biting humor. However, the shift to dark comedy in the final third feels abrupt, with the promised “carnage” confined to the last 20 minutes, leaving audiences wanting the chaos teased in trailers. Critics note the pacing “switches too suddenly between vigor and slackness,” and the film’s reluctance to fully embrace its darker elements dilutes its impact.The script’s focus on modern marriage dynamics—Theo’s resentment of Ivy’s success and her guilt over neglecting family—adds depth but sacrifices the original’s nihilistic bite. Unlike the 1989 film, where the Roses’ mutual hatred was unrelenting, this version softens the edges, making their cruelty feel unearned and the ending polarizing. Some praise its “smart, wild, entertaining” mix of British wit and Hollywood gloss, while others call it “flat” and “overwritten,” a victim of its own tonal indecision.Technical Aspects: Visually Sleek, Musically LacklusterFlorian Hoffmeister’s cinematography bathes The Roses in luscious natural light, with sleek, Nancy Meyers-esque visuals that contrast the couple’s ugly behavior. Mark Ricker’s production design, particularly the smart house with its HAL-like system, adds a satirical edge. However, Theodore Shapiro’s score and the film’s needle-drop choices, like “Love Hurts,” feel uninspired, leaning on clichés that undermine the film’s originality. Jon Poll’s editing keeps the 105-minute runtime brisk, though some scenes, like extended dream sequences, could have been trimmed to tighten the pacing.Strengths and WeaknessesThe Roses shines when Colman and Cumberbatch are trading barbs, their performances making even the film’s weaker moments watchable. Its exploration of modern marriage pitfalls—ambition, resentment, and communication breakdowns—resonates, and the playful dialogue keeps it afloat. However, its tonal inconsistency and reluctance to fully embrace its dark comedy roots make it feel like “two different films competing for attention.” The supporting cast, while talented, often feels like sketch-comedy fodder, and the film’s glossy sheen softens its satirical edge, leaving it less memorable than its predecessor.Audience Appeal and Final VerdictThe Roses is a mixed bag that will delight fans of Colman and Cumberbatch but may disappoint those expecting the 1989 film’s ferocious energy. It’s best enjoyed in theaters, where audience laughter enhances its biting humor, but its safe execution stops short of being a modern classic. With a 66% Rotten Tomatoes score and ratings ranging from 2/4 to 4/5, it’s a divisive film that’s “funny, nasty, and unexpectedly sad” but lacks the original’s gonzo spirit. For adult comedy lovers, it’s a sharp, if flawed, summer treat.
Rating: 3/5
Rating: 3/5