Category Archives: Lady Gaga

2026 Films, Anne Hathaway, B. J. Novak, Comedy, David Frankel, Donatella Versace, Drama, Emily Blunt, Heidi Klum, Justin Theroux, Kenneth Branagh, Lady Gaga, Lucy Liu, Meryl Streep, Naomi Campbell, Patrick Brammall, Simone Ashley, Stanley Tucci, Tracie Thoms

The Devil Wears Prada 2-2026

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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.

#245 Favorite Film, 2018 Films, Alec Baldwin, Andrew Dice Clay, Bradley Cooper, Brandi Carlile, Dave Chappelle, Drama, Halsey, Lady Gaga, Musical, Musical Drama, Romantic Drama, Sam Elliott, Todd Phillips, Top 250 Films

A Star Is Born-2018

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A Star Is Born- 2018

Director Bradley Cooper

Starring Bradley Cooper, Lady Gaga

Top 250 Films #245

Scott’s Review #819

Reviewed October 10, 2018

Grade: A

On paper, by the time a film reaches its fourth remake (think- superhero franchises), there is a risk of either utter redundancy or a lack of interest (or both!).

Months before A Star Is Born (2018) was released to theaters, a tremendous buzz emerged, particularly about the stars (Bradley Cooper and Lady Gaga). Considering the latter had never starred in a film before, the word of mouth was surprising.

The hype can be believed as the film is a tremendous effort with something to offer everyone.

The story begins with a boozy country crooner, Jackson Maine (Bradley Cooper), performing a sold-out show. He needs pills to take the stage and suffers from gradual hearing loss, but he is nonetheless a famous and popular star.

Following the concert, Jackson meets Ally (Lady Gaga), a waitress who moonlights singing French songs at a drag bar. They immediately bond as he encourages her to celebrate her talent despite her insecurities.

As events unfold, the pair dive into a passionate romance as her career skyrockets while he deteriorates from drug and alcohol abuse.

On the surface, a film such as A Star Is Born risks being hokey, formulaic, or otherwise generic. The premise dictates this: a successful star meets an insecure up-and-comer, romance ensues, and they face obstacles and internal conflict on the road to success.

Sounds like material custom-made for a Hallmark television movie or something lightweight, especially given the remake of a remake factor.

Instead, every element of A Star Is Born works perfectly.

Of enormous praise is how Bradley Cooper both directs this film and has the central male role. As a director, he incorporates some interesting camera shots, including a long shot of Ally walking down an alley, rehearsing a song for a performance.

Also, the numerous concert scenes are very well done. Impressive since this is Cooper’s directorial debut.

An enormous win for the film is the chemistry between Cooper and Gaga, which is evident in the first moments when the two appear on screen together. Their chemistry is purely electric, almost magical as they rapidly bond and connect.

Their connection is not only physical but also based on their love of music and the artistry associated with creating good music. This bond is slowly tested as Ally’s career takes off and her manager steers her in a more pop-oriented direction, infuriating Jackson.

Even through turmoil, the chemistry between the two actors is palpable in every scene.

My two favorite scenes include the one in which Jackson and Ally first meet in the drag bar. The lovely French tune (Edith Piaf’s “La Vie en rose”) that she performs is cultural and rife with talent. As Jackson gazes at her from the bar, his gleaming eyes are filled with amazement and pride. He is immediately smitten with her talent and poise, and this scene sets the tone for the film.

The second comes at the film’s conclusion, as Ally belts the heartfelt “I’ll Never Love Again”. Performing to a subdued audience, the song is performed as a close-up of Ally to the tremendous visual effect.

The musical numbers are heartfelt and emotional without being sappy. From treasures such as “Shallow” and “Maybe It’s Time” to the thunderous “Black Eyes” and pop-driven “Why Did You Do That?”, the soundtrack contains something for everyone.

Cooper, already an acting champ, astounds as he is so good, while Lady Gaga, a novice to film acting, looks like a pro. We believe in her struggles, doubting her star potential as she is deemed “too ugly” to make it in the music business.

Gaga successfully showcases her pain, doubt, and eventual bombast at her sudden success.

Mention must be given to Sam Elliott, the veteran actor who gives a dynamic supporting turn as Bobby Maine, Jackson’s older brother and manager. Elliott does not have a showy role or a big emotional scene—he doesn’t need to. In the actor’s quiet way, he infuses the character with pent-up anger but also with unconditional love and affection for his brother.

Harboring rage and turmoil for each other, the best scene between Elliott and Cooper comes towards the film’s end when Jackson admits his love for Bobby. The emotion on Elliott’s face is raw in this important scene.

A Star Is Born (2018) is a superlative remake and one for the ages. This fan favorite will easily go down in the record books.

With a memorable musical soundtrack, outstanding acting and directing, and characters audiences can relate to, a classic in the making is not too difficult to imagine.

Oscar Nominations: 1 win-Best Picture, Best Actor-Bradley Cooper, Best Actress-Lady Gaga, Best Supporting Actor-Sam Elliott, Best Adapted Screenplay, Best Original Song-“Shallow” (won), Best Sound Mixing, Best Cinematography

2021 Films, Adam Driver, Al Pacino, Biography, Crime Drama, Drama, Jack Huston, Jared Leto, Jeremy Irons, Lady Gaga, Ridley Scott, Salma Hayek

House of Gucci-2021

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House of Gucci-2021

Director Ridley Scott

Starring Lady Gaga, Adam Driver, Jared Leto

Scott’s Review #1,244

Reviewed April 10, 2022

Grade: B+

Upon the release of 2021’s House of Gucci, much award buzz surrounded the film, especially for Lady Gaga’s performance. A story of a once lofty Italian fashion family of the 1970s, 80s, and 90s seemed a prime winner on many levels.

Sadly, reviews quickly turned mediocre or downright lethal as more and more people saw the film, reducing it to a meager one lonely Oscar nomination in a category viewed as minor.

The accolades were expected to be much loftier, but the buzz was tarnished very quickly. Critics largely dismissed the work as too campy and melodramatic for its own good but did praise the acting. Some ripped it to shreds entirely.

Mainstream audiences were a bit kinder than the average critic.

While I recognize the criticisms and even agree with some, mostly its uneven pacing, I find House of Gucci a resounding guilty pleasure. The main appeal is Lady Gaga, who takes charge, playing an unlikable manipulator whom you shouldn’t root for but will anyway.

Here is a brief synopsis for those not familiar with the real-life story of the rise and crumble of the Gucci empire.

The shocking true story of the family behind the Italian fashion empire inspires the film. When Patrizia Reggiani (Lady Gaga), an outsider from humble beginnings, marries Maurizio Gucci and all his wealth, her unbridled ambition and manipulations tear the once close-knit family apart.

The family legacy quickly unravels and triggers a domino effect of betrayal, decadence, revenge, and murder.

With a cast including heavyweights such as Al Pacino, Jeremy Irons, Salma Hayek, and Jared Leto, there is much to focus on in the acting department. Besides Hayek, who plays a psychic, all contain Gucci blood.

All are terrific except Leto, who suffers from overreaching for the stars in terms of the emphasis he puts on being a red-blooded Italian man. He overacts.

Notably, all the principal cast members are American, not Italian, which is why I found their language, culture, and mannerisms to be authentic, a testament to their talent.

The fact that the legendary Ridley Scott directs House of Gucci is a surprise. Known for either science fiction or different sorts of offerings like Alien (1979), Blade Runner (1982), and Gladiator (2001), House of Gucci feels like a stretch for the seasoned director by way of subject matter.

Perhaps he phoned it in? There is little that is a cinematic spectacle in House of Gucci and its straight-ahead drama. Some argue it’s shot like a television movie. While I disagree that it’s as dismal as all that, I do get the point.

From the camera lens, the film is saved tremendously by the juicy and lavish sequences that transpire in Milan, Italy. The decadence of the 1980s is never more apparent than amid the fashion capital of the world.

With luxurious estates, nightclubs, and enough exterior scenes to satisfy anyone who has been to Milan (I have!), it’s enough to save most viewers from the ho-hum story.

I’ve mentioned earlier how House of Gucci feels uneven. It’s hard to pinpoint precisely, but there’s a feeling of a gaping hole or something missing from the film. Sure, there is enough drama and schemes to make television’s The Bachelor proud, but there is a glaring misfire throughout.

I would have assured that Lady Gaga made the Best Actress Oscar list, but sadly, this was not to be. This is too bad because she gives it her all as badass Patrizia. She is a woman not to be fucked with, and when she turns the tables on her husband and the love of her life, he had better watch out.

It’s a shame that all the dots didn’t connect for House of Gucci (2021).

With such a terrific cast, juicy locales, and a respected director, the film could have been a contender. Instead, it’s a pretty good film that does not need to be watched a second time.

Oscar Nominations: Best Makeup and Hairstyling