I’m not the only one who questions the success of the new Roses adaptation by Tony McNamara, but I might be more intrigued by its intention.
This movie, which is a remake of the 1989 one by Michael J. Leeson and 1981 novel by Warren Adler, focuses on the relationship between Theo, an architect whose major project has failed, and Ivy, a chef whose return to work after this failure was more successful than either imagined.
Theo (Benedict Cumberbatch) is struggling in his new role as primary parent, so Ivy (Olivia Coleman) returns a favor by offering to finance their dream home, which he designs and builds as a way of restoring his professional and personal reputation. Its development is inversely related to the deterioration of their marriage, which culminates in a fateful dinner party that finally reminds them after everyone has left of their shared desire to restore their relationship just before the house and presumably they are destroyed by a gas-leak explosion.
Many are critical of this movie. The Chicago Reader for example suggests that the pacing is off and that the performances should be funnier, which seem reasonable. Nonetheless, I was intrigued by its intention, which could be a funny foray into the challenges of marriages, especially those that last many years.
Research suggests that married couples, even unhappily married ones, are generally happier after many years (e.g., Carstensen 2011, 119-120). Anyone in one of these can attest that such longevity often requires unforeseen compromises and challenges.
Such a reality is central to this movie, which wants to acknowledge it in a witty way. This worthwhile challenge however is ultimately more than it can manage.
Both central characters are mutually witty, which is part of their attraction and they suggest in a counseling session could be considered repartee, or less caustic criticism and more emotional release. Also, the ending, which is different from the previous movie, more attests to the absurdity of married life.
These and other conditions never quite coalesce in anything coherent, which is a problem. Such moments are played for laughs before any black comedy discomfort can arise. For example, the new-age-adjacent Amy (Kate McKinnon) offers her husband’s friend and client Theo a romantic road trip but when challenged merely acknowledges her desire for novelty without any intention of leaving her husband Barry (Adam Samberg).
This mixed messaging means that the move is at most an amusing couple of hours with solid main performances and more than adequate technical elements. These unfortunately are constrained by choices from its author and its director (Jay Roach), and make it a mostly forgettable project.
As such, it never quite does justice to its central story about a long-married couple confronting challenges. Some obviously fail while others succeed, and this difference could be compellingly considered in a movie but just would need something clearer.
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