Leaning heavily on the acting gravitas of Olivia Coleman and Benedict Cumberbatch, The Roses is the contemporary and loose adaptation of Warren Adler’s novel The War of the Roses (which previously was adapted to film by Danny DeVito in 1989), which tells the story of a husband and wife, Theo and Ivy(played by Cumberbatch and Coleman respectively), whose picturesque marriage comes crashing down in a spiral of jealousy and spite, leading to chaotic and deadly consequences.
Helmed by director Jay Roach (Meet the Parents) and screenwriter Tony McNamara (The Favourite, Poor Things), the darkly comedic tone sees a lot of what both these filmmakers have seemingly honed well in their careers – biting, witty, and frankly mean characters going at each other with an immense intensity.
The idyllic life of Theo, an up and coming architect, and Ivy, an aspiring chef, starts in London, where the couple meet before moving to America so Ivy can open a restaurant. A decade later, and with twin children under their belt, the clashing parenting styles, career paths, and financial dramas signal the beginning of the end of a marriage. Attempts are made at reconciliation, but the marriage therapy and advice from their eclectic contingent of friends does not work, leading Theo and Ivy down a spiteful and cruel journey of separation of which there can only be one to emerge victorious, even if death does do them apart.
Where The Roses truly shines is the biting comedic delivery of McNamara’s dialogue. Fans of his writing style in films like The Favourite will know what to expect when it comes to the profane, insult filled, cutting wordplay that is so wonderfully and wickedly brought to life by Cumberbatch and Coleman, whose incredibly naturalistic chemistry works in favour of the story, both when Theo and Ivy are in love, and when they’re completely antagonistic to each other. The litany of supporting players in The Roses lends to some thoroughly entertaining jokes and scenes, with Kate McKinnon and Andy Samberg serving as standouts.
The story itself however doesn’t really balance the tones or utilise the exploration of the film’s themes with too much depth. Outside of the funnier moments, the emotional core of it all feels paper thin, and often conveniently sets up things to lead to the next bit, rather than stay with some of the more dramatic elements that could expand on the characters. Because of this, when the film begins to ramp up to the more chaotic climax, it feels a little too far-fetched because the foundation hasn’t been properly established.
The Roses is a fun time during its 100-minute runtime, due to the hilariously biting performances from Cumberbatch and Coleman, but once the chaos ends and the credits roll, there is a lot to hold onto that will leave a lasting impression.
Fight or Flight is in Australian cinemas September 4.
