‘The Roses’ has sharp thorns, yet it’s rooted in fondness for its all-star cruel couple

by

Originally, large-scale adult comedies were highly appreciated by audiences. With Jay Roach’s bubbly “The Roses,” there’s an enticing effort underway to draw those audiences back into movie theaters once more.

Just as sharp-witted, intense, and driven as its principal characters Theo and Ivy Rose (portrayed by Benedict Cumberbatch and Olivia Colman), this revival of the ’80s-era R-rated audience favorite is a modern take on, or in essence, a salute to, the 1989 blockbuster “The War of the Roses.” This classic film starred Michael Douglas and Kathleen Turner as divorcing spouses locked in a fierce battle over their luxurious chandelier.

Drawing inspiration from Warren Adler’s bitingly insightful novel, both movies can be seen as allegories of constructing and then destroying a sanctuary, although this time, the chandelier serves more as a secondary detail. The cunningly aware couple portrayed in these films are the type to design and inhabit a high-tech abode, even christening their automated system HAL.

As a cinema enthusiast, allow me to rephrase this intriguing tale from my perspective:

In the heart of London’s swanky dining scene, fate played a quirky hand at a high-end restaurant. There I was, a melancholic architect with dreams of pushing the boundaries in design, finding myself striking up a conversation with Ivy, an eccentric chef known for her unique blend of anchovy and blueberry seasoning.

Our unlikely encounter had me asking to borrow her knife-not for culinary purposes, but to carve out a new path in my life by slashing my wrists. But fate, it seems, had other plans as I found myself drawn to this unconventional woman who added just the right amount of spice to the bitterness that was my soul.

Our marriage, much like our signature cocktail, combines the overpowering bitterness and harmonious spice-qualities that can make for a tumultuous yet beautiful blend. In our world, Ivy’s playful quip, “Never abandon me-but when you do, end my life on your way out,” serves as our sweet talk, a testament to the dark humor that binds us together.

For about 15 years, these disgruntled individuals have maintained a bond through their caustic wit and stubbornness. However, their dynamic changes as her career flourishes and his falters, causing an imbalance. Now, they’re locked in a dispute over who gets custody of their California dream house. The twins, Hattie and Roy, are minor characters. (In the series, Delaney Quinn and Ollie Robinson portray their children at age 10; Hala Finley and Wells Rappaport portray them at age 13.)

In Tony McNamara’s (“Poor Things”) screenplay, the witty spouses exchange barbs at each other like popping corks, a skill demonstrated in his previous work which earned Olivia Colman an Oscar for “The Favourite.” Initially, Theo and Ivy are seen bickering during marriage counseling, shocked when their therapist suggests they separate. Despite this advice, they remain together largely to spite her, defying the reality that constant contempt is a major sign of divorce. “In England,” Theo asserts, “we call that banter.

You might ponder if their jokes sometimes hinder genuine dialogue, and then you might question if director Roach, known for movies like “Austin Powers” and “Meet the Parents,” has ever harbored such fears. As a side note, Roach has been married to Susanna Hoffs from The Bangles since 1993; she lends her voice to two cover songs on the soundtrack, “Happy Together” and “Love Hurts.

As a self-proclaimed movie enthusiast, I can’t help but appreciate the humor in films, and “The Electrical Life of Louis Wain” is no exception. While Colman, who first caught my attention in the quirky comedy “Peep Show,” delivers his lines with an uncanny charm dressed in PC Williams’ modern, avant-garde attire, it’s Cumberbatch who steals the show.

Known for his serious roles, this time around, Cumberbatch dives headfirst into comedy, taking advantage of a rare opportunity to make us laugh out loud. He even throws in an impressively spot-on Ian McKellen impression! But what truly surprises is when he flirts with Colman, suggesting a humorous three-hour debate that leads nowhere – a refreshing change from his usual dramatic roles.

So here’s to more Cumberbatch comedies and fewer awards-centric dramas – I’m ready for the laugh riot!

The initial tale mockingly portrayed baby boomers who were materialistic and struggled with evolving gender norms. This portrayal offers an intriguing glimpse into the conventional male and the emancipated female, who react by shattering old-fashioned decorative figurines as if they were Neanderthals. However, my main issue with the first film is that both Roses are excessively detestable. It becomes challenging to sympathize with either of them once their cruel treatment of each other’s pets becomes apparent.

In a thoughtful manner, Roach reframes the narrative focusing on people rather than societal targets as scapegoats. He and McNamara alter almost everything in this disaster except for its foreboding undertones. Given that we’re aware Theo and Ivy are heading towards tough times, the film invests a significant portion showcasing their potential harmonious relationship in the past – and more poignantly, their efforts to resolve their issues. Despite their transformation into temperamental individuals, Theo and Ivy, portrayed superbly by Cumberbatch and Colman, remain likable characters we root for throughout the story.

Movies

This summer appears robust, offering a mix of major blockbusters from Hollywood, intelligent independent films, and a suitable portion of lighthearted, mindless entertainment – all essential elements for a well-rounded summer cinema experience.

The intricacies of their breakup – stress from careers, disagreements over childcare, minor grudges – and its reciprocal nature feel uncomfortably familiar. A larger societal message here is a critique of today’s relentless pursuit of success that leaves little room for balance or compromise. Even if you can share a home with two ambitious individuals, coordinating their schedules might still be an impossible task. In the fast-paced, publicly scrutinized, and virally shared reality we live in, making money is just the beginning. Both Roses are determined to make an enduring impact on the world.

Or, more informally:

The reasons for their split – work stress, disagreements over kid stuff, petty rivalries – and how it played out are all too relatable in today’s fast-paced success chase. It’s a critique of our modern lifestyle where the pursuit of success is so intense that even if two big personalities share a house, they can’t seem to find common ground on their daily schedules. In this social media-driven life game, earning money is just the first round. Both Roses are eager to leave their stamp on the world.

As a movie enthusiast, let me tell you about my friends – Amy, Barry, Sally, and Rory. We’re all in a similar rut, and our interactions can get pretty toxic at times. Ivy’s decision to buy Julia Child’s vintage stove has them baffled, seeing as it’s, well, old. Amy, portrayed by Kate McKinnon, often comes across as an overly-progressive stereotype. She claims to be in an open marriage, using it as a ploy to get Theo to her side. Barry, played by Andy Samberg, provides a chance for deeper comedic depth and eventually becomes Theo’s lawyer. The script streamlines their legal battle into a single scene with Ivy’s ruthless attorney, brilliantly played by Allison Janney. She shows up with a rottweiler in tow, claiming it to be her service animal.

The humor can occasionally be somewhat ridiculous. There are two instances of vomiting and a slapstick moment where Colman falls face-first, yet Roach and his crew have invested substantial thought into their intricate symbolism. For instance, a scene of Theo walking dejectedly along an airplane aisle from first class to economy class, and visuals of the rough Pacific Ocean hitting rocks that mirror his admission of harboring intense resentment towards his wife.

As the movie reaches its shockingly gruesome finale, it quickly glosses over the violence, offering no pleasure from it. I found myself on the verge of laughter, yet I was so emotionally invested in Theo and Ivy, who both seem tragically convinced they’re in the right morally. Feeling schadenfreude towards them feels more like sadness. It’s a strange pang to want them to reconcile so badly. Despite the hurried ending, this extravagant comedy has the potential to lure adults back to the cinema again. The Roses may be estranged, but they have rekindled our affection for the genre – it feels wonderful.

Read More

2025-08-28 16:31