‘The Roses:’ Olivia Colman & Benedict Cumberbatch Star In Outrageous, Vicious, Fabulous, ‘Reimagined’ Satire

Danny DeVito’s gem, The War of The Roses, based on Warren Adler’s novel, is one of my favorite comedies. Released in 1989, the movie reunited Michael Douglas with his Romancing the Stone/Jewel of the Nile co-star, Kathleen Turner—and, of course DeVito, who was featured in all three films. I still feel that the film, Michael J. Leeson’s screenplay and Turner’s searing performance were robbed of Oscar nominations. The film did receive three Golden Globe nods for Best Motion Picture —Musical or Comedy and Best Actor (Douglas) and Actress (Turner), as well as a BAFTA nom for the screenplay.

As a lover of the original I was quite skeptical about a “reimagining.” But also excited because it starred Academy Award winner Olivia Colman (The Favourite) and Oscar-nominee Benedict Cumberbatch, two of today’s best actors. (How did his Power of the Dog perf lose to Will Smith???) Another reason I was hopeful, the adaptation was penned by Tony McNamara who wrote Poor Things and co-wrote The Favourite—two brilliant works.

So, I’m elated if still stunned to report that The Roses is an outrageous, scathingly hilarious good and horrific time from beginning to end, one of the most vicious, sweet, poignant and fabulously nasty comedies in ages. Its Oscar chances may be slim (they still rarely recognize comedies), but it should fare well at the Globes.

The basic plot has loving couple Ivy (Colman) and Theo (Cumberbatch), both Brit expats, balancing successful careers with raising a family. But Theo’s career, as an architect, hits a major snag while Ivy’s begins to skyrocket. She’s a chef (quite different from her Emmy-nominated stint on The Bear) and a glowing review begets patrons galore and national coverage. Resentments build and martial warfare ensues. Suffice to say, things get pretty brutal as the lunatic ante keeps getting upped. 

Director Jay Roach finds just the right tonal blend of dark comedy madness with authentic pathos.

And, in a few ways, The Roses even improves on the original by spending significant time developing the relationship between the spouses, so we get just how much they love and respect each other before the “dizzying wave of crushing hatred” starts rearing it’s hideous head. 

In addition, there is more of a sympathy balance. In the first film, we root for Turner. Here we pingpong between both Roses, our empathy constantly switching.

Both Colman and Cumberbatch kill at the comedy, but also excel with the more touching, intimate moments.

In the snarky opening scene where husband and wife are making lists of things that are positive about each other, Ivy writes, “He’s got arms.” As the inventory gets more unkind, both characters begin to laugh at themselves and, instead, attack the therapist. The love these two feel for one another is always present, even when they want to annihilate each other.

And the film honors Adler’s novel and DeVito’s film ending, sans the chandelier. 

Every supporting character is given dimension from Andy Samberg as Theo’s friend, Barry, to Kate McKinnon’s overly sexual, Amy. Allison Janney appears in only one scene and knocks it out of the park.

The Roses satirizes so many of today’s societal obsessions including gun culture, high-end cuisine, as well as the kind of British acerbity that both fascinates and frightens Americans.

The film is a loving and lacerating portrait of a marriage destined for destruction. And I haven’t laughed so much or so hard in eons!

The Roses opens August 29, 2025, via Searchlight Pictures, in theaters nationwide.