Based on the novel “The War of the Roses” by Warren Adler, The Roses (2025) is directed by Jay Roach and written by Tony McNamara. It stars Olivia Colman, Benedict Cumberbatch, Kate McKinnon, Andy Samberg, Ncuti Gatwa, Sunita Mani, Zoe Chao, Jamie Demetriou, Allison Janney, Will Smith, Caroline Partridge, and Margaret Clunie. The film follows Ivy (Colman) & Theo (Cumberbatch) Rose, a picturesque couple whose relationship begins to crumble after Theo loses his job. This quickly shifts both the family’s power and gender dynamic, which leads to a lot of stewing resentment. When it becomes clear that they should probably just get a divorce, the two find themselves addicted to their back-and-forth dynamic. Can they realize that their consistent attempts to outdo each other are really just a sign of deep admiration, or will they continue to treat each other as enemies until one of them explodes?

As is expected from a film with this kind of premise, it hinges heavily on the performances of its two leads. Colman and Cumberbatch provide their dynamic with a passive-aggressiveness that effectively communicates their vitriol for one another. However, it’s always made clear why these two love each other and stay together despite their disagreements. Their constant battle of the sexes mentality is one of the main things that spices up their romantic connection. The two actors sell this dysfunctional dynamic perfectly, which often keeps the viewer from asking, “Why are these two still together?” It’s clear that these two despise one another, but are also trying hard not to.  

The humor is often either too childish or low-key to have broad appeal. That being said, the characters’ immature behavior frequently works as a fun juxtaposition to everything else about their lives. They’re successful, respectful people, but when it comes to love, they’re basically emotionally unhinged high schoolers. 

This constant buildup of silly vitriol is fun to watch, but it often undermines the story’s serious emotional elements. As their relationship inevitably begins to crumble during the third act, the tone struggles to transition. The film never takes the situation seriously, making it challenging to care about how the story unfolds. That being said, I appreciate that the film takes its premise to its logical conclusion—one that’s so dark, I expected the film to pull back. Because of this, it concludes on a high note, despite lacking emotional impact. 

Supporting turns from Andy Samberg and Kate McKinnon help add a bit of entertainment value. They constantly exacerbate the protagonists’ dysfunctional dynamic, offering terrible relationship advice at nearly every turn. In particular, McKinnon steals the show with her awkwardly horny sexual advances toward Cumberbatch’s character. She’s an excellent example of a perfectly cast character actor, her trademark schtick being used to its full effect.

Overall, the film is serviceable as a silly, ‘battle of the sexes’ comedic romp. However, many viewers will find its back-and-forth sense of passive-aggressive humor to be a bit too low-key. It tries to balance too much, and therefore never really nails any one of the many tones it attempts to convey.  It’s never as funny or romantic as you’d hope, but it’s ultimately an entertaining experience that never insults its audience’s intelligence. It also wraps up in a way that feels risky, but right. It’s a niche experience, but I think people who are on its wavelength should have a fun time. B-