When a sequel that’s not part of an ongoing series or trilogy comes out, it’s sometimes fair to feel trepidation. That’s not quite the case in a film like this, though, with such a strong cast.
One member of that cast is Anne Hathaway, who reprises her role of Andy Sachs. Now an established and respected journalist with two decades of experience, Andy is at what should be a good point in her career. That is until she learns that herself and the rest of the newsroom at the publication she works for have been laid off.
As luck would have it, the ownership of Runway, where she was once an assistant, needs some editorial guidance after a scandal breaks out. To help navigate things, ownership of the publication hires Sachs as the new features editor to help right the ship. However, the move isn’t warmly received by Runway’s Editor-in-Chief Miranda Priestly (Meryl Streep).
“The Devil Wears Prada 2” certainly benefits from its star power and plethora of style thanks to the fashion on display. However, what’s really effective about the picture is how it incorporates elements of the first flick that people enjoy, such as Miranda’s attitude and Andy’s underdog arc. At the same time, it sets itself apart.
The movie is somewhat similar in structure to its predecessor, but there are some pieces flipped. Andy has more professional power and life experience, and it makes for a new dynamic as she works closer to alongside Miranda rather than under her. It’s a shift from the first where it felt like Andy was just trying to survive and advance.
It’s a good change of pace, where Miranda is still the superior, but Andy has editorial vision and can act as more of a contributor. Andy’s journey as the features editor, and her relationship with Miranda who’s still leading the magazine, ties into another strength of the picture, too, which is its exploration of the state of journalism.
In the movie, the future of Runway is often brought up, from how investors view its overall worth, to how well it’s connecting with a digital audience. Andy has moments where she has to weigh chasing clicks and putting out quality articles, while Miranda is questioned on what place the magazine has in changing world.
Despite this centering on a magazine that’s all about fashion, these themes are applicable to most publications. Watching the main characters try to tackle these issues, with the backdrop of the hustle and bustle of New York and the fashioned world as a whole, is engaging.
Another compelling aspect is just getting to spend more time with these characters again, especially considered who’s playing them. The core four in this picture includes Academy Award winners Streep and Hathaway, along with Oscar nominees Emily Blunt and Stanley Tucci.
Plus, there’s a strong supporting field including Justin Theroux, Kenneth Branagh, Lucy Liu and B.J. Novak. It’s a superb group, and each performer gives their character plenty of personality. They also manage to strike a really good balance between the dramatic and comedic aspects in the film.
What’s not as captivating to watch unfold are a few of the side plots. Perhaps the most obvious is Andy’s romance with a new character, an architect named Peter (Patrick Brammall). It’s fine to make the character a bit more rounded by putting some light on her personal life. However, it doesn’t add that much to her arc at the end of the day.
The romance wasn’t the strongest part of the first movie and that’s true again here. Another matter handled somewhat messy is the magazine’s future. It’s mainly handled in the third act with perhaps too many moving parts. The general idea is fine, but it feels too intricate to rush through like this film does in its latter half.
“The Devil Wears Prada 2” remains an enjoyable watch, though, as its better pieces shine through. Director David Frankel and writer Aline Brosh McKenna also returned for this project, and they do solid work in taking viewers back to this world, with plenty of cinematic flair to enhance the fashion, and the talented cast make scenes pop. 3.85 out of 5.
Matthew Liedke on Film 