‘The Devil Wears Prada 2’ is Moderately Sharp and Stylish, but Dresses Down Compared With the Original Model

‘Everything about “The Devil Wears Prada 2,” the sequel to the 2006 hit film, is bigger and flashier: the budget, the fashion, the industry shout-outs, the cameos, and even the drama. At times, this maximalism works for a movie that attempts to address the “look at me” social media culture and the “always-on, everything-all-at-once” state of culture and technology. Tellingly, the larger palette and frenzied story also reflect the wider, often muddled times, with several contrasting themes tried on like prospective outfits: capitalism and anti-capitalism, ruthlessness and kindness, positivity and nihilism. It all makes for a comedy-drama with a definite case of sequelitis, yet one that still has moments that sparkle. Thankfully, the four principal actors are back, including Meryl Streep as Miranda Priestly, editor-in-chief of “Runway” magazine; Anne Hathaway as Andy Sachs, now an award-winning journalist; Emily Blunt as Emily, no longer Miranda’s assistant but an executive at Dior; and Stanley Tucci as Nigel, fashion editor extraordinaire and secret softie. New faces in the mix include Justin Theroux, Kenneth Branagh, B. J. Novak, and Simone Ashley. The cameos are countless this time around compared with the first film for which most designers and celebrities chose not to appear in, for fear of offending Vogue’s Anna Wintour, the inspiration for “the devil” in the source material. But after the success of the original, and the endlessly shared “The Devil Wears Prada” quotes, memes, and video clips in the ensuing 20 years, showing up in the sequel was bound to be a different proposition for industry professionals and stars. Ms. Wintour even helped to promote the new film.Director David Frankel and screenwriter Aline Brosh McKenna, who are both also back, seemingly concur that the original’s success and elevation to cultural fount necesitates that the sequel refer back to it at times. Right from its opening montage, several nods to the first film are made, almost as if to get them out of the way. Yet resemblances to the original surface in the plot as well, as Andy is once again hired to work at “Runway,” gets treated disparagingly by Miranda anew, and, later in the film, once more attempts to save Miranda from professional embarrassment. The idioms “If it ain’t broke…” or its more fashionable equivalent “plus ça change,” come to mind when considering the changes and continuances.Andy’s reappearance at the magazine occurs after she’s laid off from her “real journalism” job, just as she’s accepting an award no less. Miranda and her minions are in crisis mode due to a “Runway” story that ended up celebrating a company that uses sweatshop labor. Miranda’s boss brings Andy on board, and she quickly writes up a mea culpa piece that allays all fears. Yet Miranda can barely remember Andy as her one-time assistant and remains unimpressed by her work, that is, until she secures an interview with an uber-wealthy, vaguely “iconic” woman portrayed by Lucy Liu. Multiple contemporary issues are brought up over the course of the film. Downsizing, consolidation, CEO pay, and other topics speak to the moment’s economic uncertainty, particularly in the media industry. As Nigel reminds Andy at one point, “Runway” is no longer just a magazine. This time around, the movie’s villain isn’t Miranda and her dismissive, belittling, hostile behavior, or even cancel culture, as the initial narrative thread suggests. In 2026, the baddie is big business, as embodied by corporate consultants (McKinsey is mentioned), a tech bro (Mr. Theroux’s Benji), and A.I. As a counterpoint to these soulless beings, the movie plays up fashion, particularly luxury items and couture, as a paragon of human-made endeavor and art — one that must be protected no matter the exorbitant retail cost.It makes sense that Miranda wouldn’t be so cutting and cruel a character as before; times have changed, as has acceptable work behavior. The filmmakers point this out in a number of big and small ways, with one of the biggest laughs arriving when we see the hapless editrix hang her own coat. Still, some of the prior film’s sharpness is missing, primarily replaced by endless references to fashion labels and product placement. Indeed, the “costumes” in the new iteration are so much more pronounced that they often distract from the acting.Said actors are generally fantastic, especially the always charming Ms. Hathaway, the comic Ms. Blunt, and the understated Mr. Tucci. Ms. Streep is also characteristically great, though one wonders about her tendency to show Miranda’s uncertainty by having her tuck a phantom lock of hair behind her ear. As expected, the legendary actress is given a few key scenes to show off her dramatic skills, though none stand out like the classic scene in the original in which Miranda discusses the industry and Andy’s lumpy cerulean blue sweater.The third act takes place in Milan, with the budget allowing for a side trip to Lake Como and a terrible music performance by Lady Gaga. Da Vinci’s “The Last Supper” makes a beautiful appearance as well, though it ultimately leads one to feel that no matter how many surprises or big moments Mr. Frankel orchestrates, nothing is as memorable or involving as in the first film. Still, the movie ends as it should, back in New York and with a final shot that honors the city’s hardworking ethos and aspirational ambition. As a certain wise, modelesque New Yorker once sang, “You better work.”

‘The Devil Wears Prada 2’ is Moderately Sharp and Stylish, but Dresses Down Compared With the Original Model

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