Taking inspiration from both the original 1981 novel, The War of the Roses and its 1989 film adaptation, The Roses reimagines the chaotic story of the destruction of a marriage after years of festering spousal resentment and (often self-inflicted) emotional trauma, all through the medium of acerbic one-liners and biting retorts. A dark comedy that examines the hardships of married life with a satirically cynical eye, The Roses ironically suffers under the weight of its lighter source material.
It’s rather telling that this 2025 version of The War of the Roses has dropped the “war” from its title. The novel and 1989 film both commence the divorce proceedings within the first act, dedicating the majority of their story to the increasingly homicidal antics of the bitter couple. But The Roses could almost be considered a prequel, shifting the focus instead to the years leading up to the breakdown. By screenwriter Tony McNamara’s own admission, he was more interested in the depiction of “what we do to each other whilst we’re married” than the messy untangling that succeeds it. There is much fun to be had in the verbal sparring between husband and wife, here played by an always reliable Benedict Cumberbatch and Olivia Colman. Each having built their entire careers portraying flawed but charismatic characters, they both slip into the roles of embittered yet insecure partners with ease. They make for an effortlessly great acting duo, even if their musical duet over the opening credits is rather lifeless.
Though there are plenty of laughs throughout the brief runtime – the cinema was filled with a laughter that began with the opening line and didn’t let up until the end credits – the constant humour is occasionally to the film’s detriment. By allowing us more time spent with the couple when they are truly in love and happy together, the audience grows to love and root for them, and instead of relishing in their malicious one-up-manship as the previous iterations encouraged us to do, you are just left feeling a bit sad for them. But because they are beholden to the plot as laid out by the original material, the characters are forced to act and react in ways that doesn’t always ring true to this version of the story. There are enough changes to the script, characters and themes here that The Roses could have been written as a unique, stand-alone property with its own identity, and been all the stronger for it. As such, the expectation of what a War… adaptation should offer concludes in a final act that has such a jarring tonal shift, the film goes from being a deliciously dark and witty comedy, to a Tom & Jerry cartoon. It frustratingly doesn’t work.
Speaking of changes…it would be remiss not to mention the location shots and scenery. Set in California, with the couple living on the West Coast overlooking the Pacific Ocean, the film is beautiful to look at. However, those in know the will instantly recognise the familiar beaches and coves of South Devon. In fact, all exterior shots were filmed on location along Devon’s coastline, which is stunning. There is no inherent reason why the story had to be set in California, other than they needed somewhere beautiful. Well, they already had it, and it’s a shame Devon couldn’t have been given the props and respect it deserves. But maybe that’s too negative – the film’s bitterness must be catching.
The Roses is screening at Plymouth Arts Cinema from the 12th – 18th September.
By Matthew Onuki Luke
