Category Archives: Lucy Liu

The Devil Wears Prada 2-2026

The Devil Wears Prada 2-2026

Director David Frankel

Starring Anne Hathaway, Meryl Streep

Scott’s Review #1,533

Reviewed May 11, 2026

Grade: B+

Twenty years after the box-office smash The Devil Wears Prada (2006), an entertaining and satisfying follow-up, The Devil Wears Prada 2 (2026), will please fans of the original and even garner a fresh audience.

The experience is fun and largely what one would expect from a sequel. Besides a light plot twist or two, there is nothing too surprising about the film. One could almost accuse it of being a money grab or a nostalgic throwback, and they’d be right in a way.

But with the return of the original cast, and with director David Frankel and screenwriter Aline Brosh McKenna at the helm, the formula works well, and consistency and truth to the characters are maintained.

And film audiences can rest easy with legendary icon Meryl Streep leading the pack of quality actors.

Doubtful if Streep would accept a role merely for a paycheck and without a good script at hand. This lends to security for cinema fans looking for more than a mediocre sequel. As I settled into my seat, I felt confident I would enjoy the film.

It’s delightful to see Anne Hathaway, Emily Blunt, and Stanley Tucci back at the helm.

Miranda (Streep), Andy (Hathaway), Emily (Blunt), and Nigel (Tucci) return to the fashionable streets of New York City and the sleek offices of Runway Magazine.

Stalwarts Miranda and Nigel remain at the company, while former assistants Andy and Emily, now in their 40s, have branched out into other industries (Andy) or an advertising company (Emily).

When Andy loses her job, she is offered a role with Runway, uniting with the others, much to the bitchy Miranda’s chagrin. The women playfully spar while an obvious respect is showcased.

Mixed with the humor is a dramatic storyline involving corporate takeovers, backstabbing, a struggle for control, and an interesting generational age angle.

Hathaway and Streep, in particular, have lost none of their original chemistry despite Andy now being a grown woman and an equal and no longer a minion to be chewed up and spit out.

The most fun is the knowledge that the women don’t really hate each other but share mutual admiration. They have their unique way of expressing that.

Laugh-out-loud moments occur mostly at Miranda’s expense as the rigid superstar is forced to endure an international flight in crowded coach seating and eating lunch in the building’s cafeteria, where she has never set foot.

Even though all the principal actors are wonderful, Streep is unsurprisingly the best part. The actor has a gift for flawlessly making any scene she is in something special.

As Miranda, she uses her eyes to her advantage, meshing wickedness, humor, and a burgeoning sentimentality. She’s a character audiences have previously loved to hate and now love to love.

Thankfully, since the setting is the fashion world, New York City is prominently featured and oozes sophistication, style, and a coolness. Many scenes of the characters walking down the crowded streets occur, enhancing a fresh, metropolitan Big Apple.

Impressively, the lobby of the Waldorf Astoria, Hudson Yards, and the former McGraw-Hill building are used.

Gorgeous locales in Milan, Italy, the fashion capital of the world, are featured at a swanky gala and as the film’s high point. da Vinci’s The Last Supper, The Palazzo Parigi & Grand Spa Milano, and Lake Como are featured, which provides a sizzling, sophisticated feeling.

We even get to see Lady Gaga perform!

The film has laughs, heart, and a timely message about technology, journalism, and the treatment of people as aging, disposable objects rather than human beings.

In a 2026 world filled with corruption, lies, and coldness, the film gives a much-needed slice of escapism and an uplifting message of unity.

A box office hit, it also reaffirms the importance of audience connection, and I happily enjoyed the film in a full theatre.

The consensus about The Devil Wears Prada 2 (2026) is that while not as good as the original, it’s a quality slice of popcorn nostalgia with a terrific message.

I agree 100% with this sentiment.

Kill Bill: Volume 1 and Volume 2-2003/2004

Kill Bill: Volume 1 and Volume 2- 2003/2004

Director Quentin Tarantino

Starring Uma Thurman, David Carradine

Top 250 Films #98

Scott’s Review #322

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Reviewed January 3, 2016

Grade: A

Despite being released as separate films (Fall of 2003 and Spring of 2004), Kill Bill: Volume 1 and Kill Bill: Volume 2 are one grand, sprawling feature.

The films were shot as one, but at a running time of over four hours, it was impossible to release them as one, so director Quentin Tarantino decided to release his masterpiece martial arts film as two sequential films.

I have decided to review them as one since Volume 2 is a clear continuation of Volume 1.

From a story perspective, Kill Bill is a basic revenge thriller. The plot is not complex nor ingenious and is rather ordinary containing B-movie components- think the really bad Kung-Fu films of long ago.

What makes Kill Bill an extraordinary masterpiece, however, is the style that exudes from the film, thanks to the direction and creation of Tarantino.

The film is brimming with good flavor and crackling dialogue of an intelligent sort.

Characters have long conversations with each other-not for redundancy’s sake- in between the endless martial arts and bloody sequences.

We meet our heroine, The Bride (Uma Thurman), in a chapel in El Paso, Texas. About to be married to her groom, the entire wedding party is suddenly assassinated in a bloody fashion by the Deadly Viper Assassination Squad.

Their leader, Bill (David Carradine), shoots The Bride after she reveals to him that she is carrying his baby.

The film flashes forward four years later- The Bride has survived the massacre but has been comatose ever since. When a hospital worker rapes her, she escapes and vows revenge on each one of her attackers- the revenge culminating with Bill.

Her path of destruction leads her to Japan.

Like most of Tarantino’s films, Kill Bill is divided into chapters and often goes back and forth from past to present.

The brilliance of Kill Bill is its pizazz. We know The Bride will get her revenge on the assassins, we just do not know in what way or how bloody the slaughters will be.

The film contains copious amounts of blood and swords and machetes are everywhere to be found.

The slow drawl dialogue as The Bride has conversations with her prey before she kills them, oftentimes ends in a big fight scene. Her first revenge, against Vernita (Vivica A. Fox), is unique in that it takes place in Vernita’s kitchen as her young daughter is happily eating her breakfast cereal.

The entire battle ensues in the kitchen and we are left watching blood and cereal.

It is Tarantino’s unique style of filmmaking and storytelling, adding violence, and long character conversations, that give Kill Bill, and all of his other classic films, his unique brand, and stamp of approval.

I dearly hope he continues to make films that challenge the norm, for years to come.

The Tale Of The Princess Kaguya-2014

The Tale Of The Princess Kaguya-2014

Director Isao Takahata

Starring (Voices) Chloë Grace Moretz, Darren Criss

Scott’s Review #430

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Reviewed June 23, 2016

Grade: B+

The Tale Of The Princess Kaguya is a Japanese animated film released in 2014.

It is a unique film- mixing elements of fantasy and drama- stunning to experience and appreciate from a creative perspective. Unusual still is the lengthy running time of two hours and seventeen minutes- animated films are typically on the short side.

This is not to say that it drags, although I found it helpful to view it in segments.

Originally made in Japanese, the film has been dubbed in English and features recognizable voices such as Mary Steenburgen, Lucy Lui, and James Caan.

A bamboo cutter, Miyatsuko, discovers a baby girl inside a bamboo tree one day. He and his wife consider her a divine presence and keep her as their own, naming her Princess Kaguya.

Mysteriously, she begins to grow and develop at an alarming rate and is the wonder of the village. Kaguya develops a playful crush on Sutemaru, a handsome peasant.  Kaguya, led by her parents, is taken into a life of nobility and wealth as her destiny.

Her governess attempts to mold her into a regal Princess, but Kaguya is a wandering, free spirit, and rejects the formalities of this life. Her myriad of wealthy suitors counters her feelings for Sutemaru.

From a story perspective, the film shines, as the conflict over wealth versus poverty is explored. Kaguya’s parents are not greedy, but they want her to receive just desserts and a life free of hardship- as they are used to.

They want something better for her.

One can relate to the parent’s views, but Kaguya feels differently. She wants freedom, love, and happiness, not a life of rules, procedures, smoke and mirrors.

The filmmakers present the viewpoint of someone “other-worldly”  observing and analyzing planet Earth, warts and all, so the film has a message. It is not cliched or overbearing in its approach though-merely honest and sincere.

Every frame in the film appears to be a gorgeous drawing- not conventional, fast-paced animation, but classic, muted, pastel-type colors are used, giving it a softer touch, which astounded me.

If one is not into the story (tough to imagine), one could easily sit back and marvel at the spectacle.

The growing trend in animated films seems to be a return to traditional drawings- think Rudolph the Red-Nosed Reindeer from the 1960s- as evidenced by The Tale Of The Princess Kaguya and Anomalisa (2015), two recent animated features receiving critical acclaim.

This is music to my ears as these are far superior to the redundant, CGI-laden films.

Oscar Nominations: Best Animated Feature Film