As a showcase for the creative world of modern fashion, “The Devil Wears Prada 2” works just fine. As a commentary on the impact of modern technology on traditional field like journalism, it’s OK. As an attempt to humanize its elitist characters, it struggles.

It’s been 20 years now since the release of “The Devil Wears Prada,” and David Frankel’s “Prada 2” sticks with that same timeframe. Two decades after her life-changing time at the elite fashion magazine Runway, Andy Sachs (Anne Hathaway) has built a distinguished career as a journalist, traveling the world and covering more substantial topics than the latest trends and styles.

But just as she’s about to receive a distinguished award for her work, Andy’s entire publication is erased from existence. Luckily (for her), her old boss at Runway is running into some trouble as well. A sweatshop scandal sets a sequence of events in motion, and within a few short scenes, Andy is back at Runway working as its features editor under the notorious editor-in-chief Miranda Priestly (Meryl Streep).

Neither side is happy with the arrangement, and Miranda barely seems to remember their past time together. But Andy’s situation is more desperate, so she swallows her pride and sets about proving herself yet again to the titular devil in the film’s title. The plot engine that drives this dynamic is the threat of a new owner (B.J. Novak), who represents the threat of technology and 21st century attitudes toward established institutions and values.

The demise of traditional journalism, the transition from print to online, and the advent of modern technologies like artificial intelligence are themes that almost justify the return to the world of Miranda and Andy, which I can’t imagine anyone ever saw as a potential franchise the first time around. These themes are certainly relevant, even if the film never says anything conclusive to say about them.

Instead, most of “Prada 2” is built around the relationships of its characters–which include the returns of Emily Blunt and Stanley Tucci in supporting roles–and its showcasing of the fashion world. Anyone looking for fashion eye candy and flashy cameos won’t be disappointed, even if it kind of undercuts the nobility of the industry’s cause–are we really supposed to lament the loss of an institution dedicated to covering such superficial nonsense?

The character studies are more interesting, if similarly problematic. Miranda is a complicated character, which is a nice way of saying she comes off as a “real” person in private who has no problem treating lesser people around her like garbage if they don’t meet her standards. And even a comparable “good guy” like Tucci’s character is too much of a snob to fully embrace. It’s pretty obvious that I’m not the audience for this movie, but I struggle to see how anyone would want to be a part of such a world. It’s one thing to acknowledge that high fashion prioritizes art over practicality, but it’s a lot harder to justify the elitist attitudes that go with it.

At the center of all this is Andy, who is mostly relatable and serviceable as a protagonist to cheer for. She also gets a pretty forced love interest sub-plot with a local contractor (Patrick Brammall), and her strained relationship with former co-worker Emily (Blunt) is a helpful thread.

Altogether, “Prada 2” has enough going for it to justify its existence as more than a nostalgic cash grab, but it’s a close call. Fans of the first film will probably enjoy it, but like one of Miranda Priestly’s former employees, “The Devil Wears Prada 2” feels destined to be forgotten, whether it deserves it or not.

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“The Devil Wears Prada 2” is rated PG-13 for scattered profanity and adult content.

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While this conversation isn’t anything new, I noticed an interesting trend with my favorite movies I watched this last year–they were primarily foreign films. As we all have witnessed, movies and shows coming from other countries have become more accessible and mainstream thanks to streaming services, and there are always a few movies highlighted each year during the awards season. I think what has really struck me this month reflecting on the last year was that I preferred less traditional options as I compared everything I watched to each other, and here are the ones that impacted me the most.

5. 3 Idiots (2009)

This one is more of an honorable mention because I like pointing it out whenever I can, and I feel like it still adds to this discussion. I have watched this film so many times, and it still leaves me with more thoughts and tears every viewing. It is the best film I’ve ever seen about the education system, critiquing and praising in ways that still apply to American universities. As a Bollywood production it, naturally, has many musical numbers with songs that are warm and funny while still thoughtfully exploring serious subjects of economic pressures, castes, and even depression and suicide. Anyone thinking of or currently pursuing higher education NEEDS to watch this movie! 

4. Conclave (2024)

This is technically a Hollywood production as it was produced by FilmNation Entertainment and Indian Paintbrush, but director Edward Berger is Swiss-Austrian and this was largely shot in Italy, so it sort of counts. At the very least, it shows how a blend of cultures can make for incredible art. “Conclave” is total Oscar bait as a drama with a stacked cast, but that’s the kind of stuff I love. The shots were stunning and the sound design was impeccable. What struck me the most, however, was how the premise (the fictitious selection of a new pope) allows for thorough discussions of how ‘church leadership’ can be oxymoronic. True men of god must be sinless and humble, but their worst tendencies might come out when one of the highest positions of power in the world is on the line. It’s meant to spark thought and debate, so you may not agree with everything brought up. Regardless, I think the film balances it so well, so you can see the arguments on all sides and feel free to come to your own conclusions. 

3. Along with the Gods: The Two Worlds (2017) & The Last 49 Days (2018)

This was an interesting Korean series I stumbled upon on Amazon Prime, and it ended up having way more depth than I ever anticipated. The film explores the perilous Buddhist afterlife journey a man goes through so he may earn reincarnation. It’s a richly elaborate world that is very much still tied to those still living. The nuance explored about human flaws and the message about forgiveness is so touching. 

I also included the sequel since they have to be seen together. I loved the first film as a stand-alone allegory, but the sequel takes everything to another level. We delve more into the backstories of the characters and their world. Unfortunately, I can’t go into too much detail, but I can say that it shows what we all want from a sequel: something that is (1) thoughtfully tied to its predecessor so they have to be watched together (ex. The Lord of the Rings trilogy), but (2) everything is still new and a delight to watch every minute of.  So, if you are someone who likes the crazy action sequences mixed with touchy-feely moments, you have to check these films out.

2. Godzilla Minus One (2023)

As the first film I watched last year, nothing came close to how I felt watching “Minus One” in my theater seat. This is one you might’ve heard a lot about if you haven’t already seen it yourself. Much like the newer “Godzilla” (2014), you follow people on the ground facing an insurmountable, monstrous threat following the devastating aftermath of WWII in Japan. While I was caught up in the physical danger, the theme about the value of a life explored from the perspective of a Kamikaze pilot deserter makes me tear up when just thinking about this movie. Watching “Minus One” while sitting in front of a big screen makes you feel so small yet somehow enough for the ones you love. The quality of filmmaking is also so incredible, especially when it comes to the sound design and special effects, which is reason alone to see it.

1. RRR (2022)

No film I have ever seen before comes close to the majesty and oddity that is “RRR”. You come for the insane Bollywood action sequences and stay for the bromance. It’s not unpredictable, per se, but the execution hits all the right narrative and emotional beats. You see the strength of two men willing to attain their goal, no matter the cost, with the 1920 British occupation of India as the backdrop. It tackles racism, “modernization,” and sacrifices in many symbolic shots. It’s simply so fun to watch, while also seeing history from the Indian perspective. It’s crushing, and heartwarming; it’s all you could ever want in a movie. Oh, and did I mention that it also has amazing musical numbers and choreography??

Conclusion

I still loved many of movies that came out last year, and that’s why I’m wanting to get back into writing reviews! While I enjoyed Wicked, Fall Guy, and Twisters as much as anyone else (and I could totally talk your ear off about all of them), none of them reached the emotions I felt while watching these foreign films.

Why would one connect more with something outside of their culture? In part, there is simply more available to us thanks to the vast amount of content on streaming services, so we can sift out the best of the best. I’m also always one to be a cynic and point out that we are craving more quality at a time when Hollywood is still primarily feeding us half-baked-expensive time killers. Other countries are utilizing the same technology we have to tell actual stories that are fun and have thoughtful and emotional impact. I also think that the biggest factor is due to our curious human nature. We love seeing other perspectives and experiences that isn’t Americanized. It broadens our views and expands our hearts in ways we never expected. So give that subtitled film a chance when going to the theater this year!

If you watched some great films last year, give them a shout out below, and I look forward to watching upcoming movies with you in 2025! 

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