Director Jay Roach and writer Tony McNamara bring a fresh, 21st-century perspective to Warren Adler's anti-romantic-comedy novel with “The Roses,” a film that revisits themes similar to Danny DeVito's 1989 classic, “The War of the Roses,” but refrains from being a direct remake. Starring Olivia Colman as Ivy Rose, a chef, and Benedict Cumberbatch as Theo Rose, an architect, the dark comedy delves into the intricate dynamics of a modern marriage as it teeters on the brink of acrimony. The narrative opens in a couple's therapy session, where the British duo's relationship is characterized by biting repartee, a clear indication that their bond, while unconventional, still holds a peculiar attraction, despite a perceived lack of on-screen spark compared to Kathleen Turner and Michael Douglas in the original.

The film highlights a significant shift in the couple's power dynamic when Theo's major architectural project collapses, coinciding with the burgeoning success of Ivy's crab shack. This reversal of fortunes forms the core of the conflict, exploring how professional identity and ambition impact a relationship. Supporting performances from a stellar comedic cast, including Andy Samberg and Kate McKinnon as a couple whose bed has gone cold, and Allison Janney as an intimidatingly deadpan divorce lawyer, further enrich the story's satirical tone. Despite initial reservations from writer Tony McNamara about revisiting the premise of a “perfect film,” the team aimed to create a show “more about marriage” with verbally brilliant exchanges. Roach himself incorporated personal insights into romantic relationships, emphasizing mutual guilt in ego and career pursuits.

“The Roses” debuted softly at the Labor Day weekend box office, landing in fifth place with $6.4 million over the traditional weekend and an estimated $8 million across the four-day holiday. While critics offered mixed reviews, with a 64% Rotten Tomatoes score, audiences were more favorable, granting it a “B+” CinemaScore. This performance contributed to a sluggish Labor Day weekend overall, where a 50-year-old blockbuster, “Jaws,” surprisingly outgrossed new major studio offerings.

Alongside “The Roses,” two other notable films made their way to audiences. Darren Aronofsky's “Caught Stealing,” a gritty crime thriller marking a radical departure from his usual intense psychological works, stars Austin Butler as a washed-up New York bartender embroiled in a gangster chase. Adapted from Charlie Huston’s novel, the film received positive critical acclaim (84% on Rotten Tomatoes) but a more lukewarm “B” CinemaScore from moviegoers. It secured third place at the box office with $7.8 million over the weekend and an estimated $9.5 million through the holiday frame.

Meanwhile, Macon Blair's “The Toxic Avenger” offered a reboot of the scrappy 1980s cult classic. Starring Peter Dinklage as the voice of Winston Gooze, a mutated janitor, and featuring Kevin Bacon as a cartoonishly evil villain, the film struggled to live up to its promise. Critics found it to be a “mostly middling reboot,” with sporadic jokes and comically bad scares, making it a “hit and miss” venture.

The Labor Day holiday weekend proved challenging for new releases, with overall domestic revenues reaching only $86 million, a 19% decline from the previous year. “Weapons,” a horror movie in its fourth weekend, reclaimed the top spot, earning $10.2 million. The summer season concluded with domestic revenues at $3.67 billion, down slightly from 2024 and significantly behind 2023, reflecting a disappointing period for the film industry despite a lineup of sequels, spinoffs, and superhero adventures. The performance of older films like the “Jaws” re-release, which generated $8.1 million, highlighted the tough competition faced by new titles in a market experiencing a broader downturn.