Thirty-six years, roughly 40 million divorces, and a seismic cultural shift have passed since Danny DeVito’s “The War of the Roses.” Now, director Jay Roach and writer Tony McNamara bring a fresh, 21st-century perspective to Warren Adler’s anti-romantic-comedy novel with “The Roses.” While less belligerent than its 1989 predecessor, this new dark comedy still packs a significant bite, culminating in Ivy (Olivia Colman) and Theo Rose (Benedict Cumberbatch) attempting to kill each other in their custom-built home. The film, which isn’t quite a remake, explores how matrimony can devolve into acrimony, especially with shifts in power dynamics between spouses.

McNamara’s script opens with the British duo in couple’s therapy, where their relationship is characterized by biting repartee, exemplified by insults like “I’d rather live with her than a wolf.” Despite their therapist’s horror, their wicked smiles suggest this dry, mutually deprecating humor still fuels their attraction. However, the film is noted for a missing spark in the chemistry between Colman and Cumberbatch, particularly when compared to the scorching passion of Kathleen Turner and Michael Douglas in DeVito’s original, who leveraged their pre-existing screen chemistry from “Romancing the Stone.” “The Roses” attempts to establish Ivy and Theo’s insatiable sex life with a steamy meet-cute in a restaurant kitchen, leading to them having sex in a walk-in freezer within minutes. They flirt like newlyweds, contrasting sharply with their married friends, Barry (Andy Samberg) and Amy (Kate McKinnon), whose bed has clearly gone cold, and Rory (Jamie Demetriou) and Sally (Zoë Chao), who harbor unspoken resentments.

For years, Ivy and Theo seemingly made their marriage work, navigating non-compatible parenting styles to raise a respectful son and daughter. Ivy spoils the children with sweets, while Theo is a taskmaster. This initial phase of the movie carries a “zingy Hollywood feel,” portraying them as an enviable, uncomplicated couple: Theo, a hotshot architect, and Ivy, a confidence-challenged chef. The turning point arrives when Theo’s major architectural project collapses, derailing his career. This moment allows Ivy’s ambitions to shine, as she pursues her long-held dream of opening a crab shack. While Theo is superficially supportive, depression and jealousy quickly intrude as Ivy’s venture booms with buzz and success. This swift transition in roles means the film doesn’t deeply explore the couple’s struggle through hardship, which is often where compatibility is truly tested. As everyone around them, except for Allison Janney’s no-nonsense attorney, urges de-escalation, “The Roses” sometimes feels like the opposite of its predecessor, hinting at a renewed sense of falling in love despite the escalating conflict, which here remains a skirmish rather than a full-blown war.

At the New York premiere, Allison Janney, who plays an intimidatingly deadpan divorce lawyer, reflected on the film’s premise, noting that a strong foundation is crucial for relationships to weather such challenges. Benedict Cumberbatch, known for period dramas and Doctor Strange, embraced the dark comedy as a “new” step in his career, relishing the opportunity to match wits with Colman. He described Theo as emotionally intuitive, impulsive, pragmatic, and capable of great depth of love, hurt, pain, and hatred. Tony McNamara initially hesitated to tackle a remake, believing the 1989 film was perfect, but found inspiration in Olivia and Ben’s involvement and an idea to focus more on marriage with a verbally brilliant script. Director Jay Roach shared his personal insights into romantic relationships, acknowledging the hypocrisy of accusing a spouse of actions he himself commits. Critical reception for “The Roses” (rated 15, 105mins) has been largely positive, with reviews calling it a “hilariously funny and viciously feisty version” and praising the “comic chemistry” between Colman and Cumberbatch, who portray chaotic cruelty while maintaining a glint of true love.

Separately, Macon Blair’s reboot of “The Toxic Avenger” (rated 18, 102mins) offers a mostly middling experience, struggling to live up to the cult classic status of Troma’s scrappy 1980s original. Despite an impressive cast, including Peter Dinklage as widowed janitor Winston Gooze (who mutates after a toxic accident, with stunt performer Luisa Guerreiro in the monster suit and Dinklage providing the voice), Jacob Tremblay as Winston’s son Wade, Taylour Paige as crusader JJ Doherty, and Kevin Bacon as the cartoonishly evil corporate villain, the film often stumbles. It aims to be a sharp superhero spoof but delivers sporadic jokes and comically bad scares, making it a hit-and-miss attempt at a slicker version.

Finally, Darren Aronofsky takes a radical turn with “Caught Stealing” (rated 15, 107mins), a gritty crime thriller that departs from his signature intense psychological works like “Black Swan.” The film, reminiscent of the Safdie brothers’ style, is a high-octane crime spree. Austin Butler captivates as Hank Thompson, a washed-up New York bartender with a busted knee, effortlessly holding the screen with his classic Hollywood magnetism. Adapted from Charlie Huston’s novel, the story sees Hank’s agreement to cat-sit for his neighbor (Matt Smith in a memorable punk role) spiral into a wild chase involving gangsters and a notable appearance by pop star Bad Bunny. The excellent ensemble cast, which includes Liev Schreiber and Regina King, never detracts from Hank’s central journey. While its pacing is occasionally off, “Caught Stealing” serves as a fantastic showcase for both Aronofsky’s new directorial direction and Butler’s compelling performance.