'The Roses': A Thorny, Yet Heartfelt Satire of Modern Relationships

PHOTO: Searchlight Pictures

In theory, a modern take on Warren Adler’s novel The War of the Roses isn’t the worst idea, but it is one that seems a bit tough to pull off. For starters, you need a strong script, a duo with great chemistry, and a director who can work well with the source material’s acidic tone. When I first heard about the talent assembled for The Roses, I was a bit perplexed. I could understand why someone like Tony McNamara would write the screenplay, as he has experience with dark comedy, but the rest of the names attached didn’t seem like a good fit. I love Benedict Cumberbatch and Olivia Colman as much as the next guy (probably more than the next guy in Colman’s case), but I wasn’t sure just how believable they would be as a couple. For reference, the 1989 version of The War of the Roses starred Michael Douglas and Kathleen Turner, a duo who had proven chemistry. Cumberbatch and Colman definitely seem like they’d be game for a film like The Roses, but would they work well together? I also didn’t feel like Jay Roach was the right person to direct this, as his journeyman approach to filmmaking doesn’t seem appropriate for the specific tone that the film is trying to pull off. And yet, he has helmed some good comedies, so maybe he would be able to make it work with this film. 

With so many unknown variables, I went into this film with quite a bit of trepidation. I had a bit of hope that it would at least be fine, but I was worried that this had the potential to be a disaster. However, my biggest fears for this film did not come true, and I was pleasantly surprised by how much I liked The Roses. It finds a good balance between breezy studio comedy and pitch-black satire, feels modern without feeling pandering, and features a pair of winning performances from Benedict Cumberbatch and Olivia Colman. I may have been unsure of how they’d fare as a couple, but their work here made it to where I couldn’t see anyone else in these roles. It does feel a bit shaky at times, and you can tell that its edges are sanded down a bit, but it tells a darkly funny, incisive, and occasionally sweet love story that works far better than I would have ever guessed.

Theo and Ivy Rose (Benedict Cumberbatch and Olivia Colman, respectively) live a nice life in Northern California with their two children. Theo is a respected architect, while Ivy is a chef who runs a struggling seafood restaurant. When a horrible storm rolls in, it causes events to transpire that change both of their lives and creates a rift between them. As the film continues, the divide between Theo and Ivy continues to grow, leading for the two to begin to act cold towards each other, and their seemingly idyllic life to crumble before their eyes. 

Based on the marketing and what I knew about both the original novel and the 1989 adaptation, I was expecting the film to largely feature Cumberbatch and Colman constantly trying to get one over on each other with escalating gags and such. However, this is really only limited to the third act. Those expecting a constant back and forth between our two main characters will likely be disappointed, as the film isn’t all over-the-top or reliant on gags. Much of the film is dedicated to the slow build that leads to Theo and Ivy’s marriage falling apart, and acts as a message on the importance of communication in relationships. It provides an interesting text that puts the back and forth of the third act into an interesting context, highlighting the performative nature of relationships and the issues that tend to arise within them. The film is fairly different from what I was expecting it to be, so it threw me for a loop at first. But the more I’ve sat with The Roses, the more I appreciate what it actually is, even if all of it doesn’t work. 

At first, I felt that the film played things a bit too nicely, and I still feel that way to a lesser degree, but this is more due to the fact that the film is presenting the meaner aspects in a way that makes them easier to swallow than anything. This may not sit well with some viewers, but I think this is probably the best way to go about the thorniness of the source material. If you go too far into the meanness, it might be unbearable to watch. If you back off it any further, the film becomes inert. It may not be the perfect medium tonally speaking, but it is still highly effective. The film gives the viewer a bit of an appetizer for what they’re in for in the film’s opening scene, which sees Theo and Ivy in couple’s therapy. The scene quickly takes a turn for the profane, and sets expectations for the viewers. But the film wisely chooses to not be an onslaught of four-letter words and insults, and instead lets the acidity ebb and flow throughout. The film opts for finding the honesty within Theo and Ivy’s marriage, and allowing the more ridiculous aspects of it to stem from there. It may mean that it comes across a little toned down at times, but it still reaches a good midpoint that serves the film well.

Most of my issues with the film are due to Jay Roach’s direction, which isn’t bad per se, but doesn’t fully click with the rest of the film. Roach’s work here is serviceable, as it keeps the film afloat, but he doesn’t have the juice to take it to the next level. I couldn’t help but wonder if the film would work better in the hands of a director who is more experienced with black comedy, but I must admit that Roach does a better job than I was expecting. He does seem a bit hands off, which might work for other studio comedies, but this film could have used perhaps a bit more guidance to help it out. This could also contribute to the film feeling a bit sanitized at times, as Roach’s other films tend to have a similar feel. But while Roach’s direction isn’t the best, it still is fine for the most part, and doesn’t hurt the film too badly.

The biggest surprise of the film is how much love is in it. Even the film’s title card bills it as The Roses: A Love Story, which is a bit tongue-in-cheek but also pretty true to what the film actually is. Theo and Ivy may have several issues in their relationship, but you can feel the love between them every step of the way. Much of this is due to Colman and Cumberbatch’s great chemistry, but also in the way the film is written. Through the film, we see this couple for who they are, warts and all, and even though they reveal themselves to be pretty bad people, we can’t help but feel for them a bit. It does feel a bit infuriating that they won’t take the time to talk and truly listen to each other, but it is so true to real life. While watching the film, I couldn’t help but think of people I know who have a similar dynamic to the Roses. I mean, who doesn’t know a couple who brushes aside the growing issues in their relationship in favor of maintaining a more favorable image of themselves? Some might not care for the film’s major focus on this and be wanting more of the gags that the trailer promised, but I personally like that the film is more concerned with finding the reality under the silliness, as it makes the film far more fascinating. 

Benedict Cumberbatch has proven himself to be a versatile actor, but I was a bit unsure when I heard he was going to be in this film. He can be funny, sure, but I just didn’t know if he would be well-cast in this. As it turns out, he is incredibly well-cast, finding the nuances of Theo and playing his narcissism with authenticity while still getting several laughs. The same can be said for Olivia Colman, as she is both very funny and nails the balance of selfishness and love in playing Ivy. Colman has a strong comedic background, so it’s no surprise that she’s good here, but it is the way she portrays the humanity within Ivy that really impressed me. Both Colman and Cumberbatch are great in this film when viewed individually, but they are fantastic together. They both have such strong chemistry that makes them feel like a real couple, and this strengthens the film around them greatly. They also are able to hold their own against each other exceptionally well, as evidenced by a dinner table scene late into the film. That scene is arguably the best of the film, and sees both actors on their A-game. I may have been skeptical about them going into it, but they are perfect for this film, and match the tones and rhythms of it excellently.

The trailers definitely made it look like the film’s ensemble would play a large role in the film, but they only appear intermittently. It does lead to the feeling that some of the actors could have been used a bit better, but everyone makes good use of what they’re given. Ncuti Gatwa, Sunita Mari, Zoë Chao, and Jamie Demetriou are particularly underutilized, but are still pretty good despite this. Chao and Demetriou actually got some of the biggest laughs of the film from me, courtesy of a scene where they try to mimic the rough banter that Theo and Ivy have. Andy Samberg is more prominent compared to the rest of the supporting cast, and uses a dialed down version of his comedic persona to great effect. He plays a bit of a sad sack, but he is still very funny throughout and is giving a legitimately good performance. Kate McKinnon is the big scene-stealer of the film, as she has an impish energy that plays off everyone else so well. Her character, Amy, constantly flirts with Theo, and her persistence is quite funny to watch. McKinnon gets some of the film’s funniest lines, and her dynamic with Cumberbatch and Colman is the cherry on top of her performance. I also must mention Allison Janney, who gives a killer one-scene performance as a divorce lawyer. She comes into the film rather late, but throws haymakers all throughout her scene. The role plays to Janney’s strengths, as it allows her to be foulmouthed and abrasive while still landing every laugh line she has. She is completely in the pocket throughout that whole scene, and helps make it a major highlight of the whole film. 

The Roses is a much different take on Warren Adler’s novel than some might expect, and those expecting something like it or the 1989 film adaptation of it might be disappointed. Those who are open to a new interpretation that gives way to some interesting ideas on relationships and communication in the modern age might get more out of it though, as was the case with me. It definitely defied my expectations, even if I still have some issues with it. However, I still really enjoyed the film, and liked its balance of light and dark quite a bit. Some might not like its mean spiritedness and others may feel it plays things safe, but I think it finds a middle that makes the whole thing palatable without sacrificing too much of what makes it special. I do think it could have been a touch more acidic, but maybe it’s for the best that it holds back a little. The Roses may not be the type of film that people are expecting it to be, but it is still a fascinating and fun look at modern relationships, and is boosted significantly thanks to Benedict Cumberbatch and Olivia Colman’s surprisingly great chemistry.

Rating: 3.5/5