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Strike a pose! Just when you thought you were out, the well-polished nails of Miranda Priestly pull you back onto the runway. After twenty years and fans never being able to move on from their nostalgia, we have found ourselves back working for the devil still glamourous as ever. With its first outing “The Devil Wears Prada” was a time capsule of 2006 with its approach to fashion, femininity, power and above all else looking absolutely divine. The film certainly has its fandom mainly due to Meryl Streep’s “iconic” performance as a stand in for Anna Wintour in the most cutthroat of fashion. Priestley may not be the type to survive a newfound business world of HR policies running house, but the character has become a staple in the internet world as well as just a recognizable character amongst a slew of film creations. Perhaps it is because even if Priestly’s methods of treatment are no longer tolerable, many people that once inspired her still run amok and hold court at the highest class of events. Twenty years later THE DEVIL WEARS PRADA  2 (once again directed by David Frankel) has walked its stilettos onto the big screen with all four of its lead stars still carrying the mantle of stunning fashion amongst bitter rivalry. But where one critic never found the amazement in its predecessor it’s admirable to see how this sequel decides to take a stand on an issue that is far more important than a ruthless boss. THE DEVIL WEARS PRADA 2 is far less interested in rehashing old wounds (even if it rehashes far too many plot devices) but instead chooses a defense of an industry that is deserving of a backing. Truthful journalism amongst a dying industry of print media is an almost suicide mission but DEVIL takes a stand even if it can come across as quite tame. The film still finds plenty of time to strut its best stuff but in a last fight for truth THE DEVIL WEARS PRADA 2 should not be our greatest warrior but it’s charming to watch it try. 

People still may care about fashion but to get them interested in picking up a magazine now that’s out of style. For Miranda Priestly (Streep) the editor of Runway magazine it is one of her many ongoing problems in a modern world. Trying to push back against her magazine being more successful online while still maintaining a stronghold of elegance and confidence is a difficult ballgame. Pride comes slightly easier for her even when the latest scandal arises involving Runway giving work to a fashion line that owns and abuses sweatshop workers. Meanwhile life for Andrea “Andy” Sachs (Anne Hathaway) isn’t fairing all that better. Even after winning a prestigious award in journalism (something she has been actively working in for the twenty years since her saw her) she and her entire team are laid off in favor of a buyout. Oh, and the firing came via text. But through strange circumstances Andy is found back in the offices of Runway due to its owner Irv Ravitz (Tibor Feldman) hiring her to run the features department in hopes of bringing some journalistic integrity to the company. Or more so just saving face. Opening with the exact same shot as its original DEVIL also feels so inclined to rush us into today’s world that it feels entuned to the same beats that followed Andy during her once chaotic time joining Runway many years ago. Its fast-paced pace approach already feels exhausting in the film’s inability to start us off with something fresh. But it is when Andy sees her once feared boss that things reveal themselves to be less about fighting the same devil but rather a greater enemy. It takes no time for Hathaway (who is already starting a busy 2026) to fall back into Andy. One look at Miranda and the insecure awkwardness comes crashing down thankfully balanced with more determination. But the film’s script (written by Aline Brosh McKenna) wants us to see that Miranda while still greatly feared cannot pull her same demoralizing mind games. Her new assistant Amari (a confident Simone Ashley) is all business and has little if any tension with Miranda. The new “Emily” as she is called is one made of tenacity and willpower bestowing her strengths onto her inferiors. It can be humorous to watch Miranda try to bite back with the worries of HR taking her down, but it also means the film loses an edge that once defined its era. 

The film’s script also wants us to know that everyone is coming for Runway at every angle. It still has its defenders including loyal Nigel (Stanely Tucci fabulous as ever) who will fight to the end for the magazine against the new generation. But it also has old enemies in the midst from former assistant Emily (Emily Blunt) who now runs a glamours luxury line whose ads help keep Runway alive, as well as any new buyers looking to claim Runway and sell it off for the next digital profit. All this really means is that Andy is needed more than ever and even Miranda knows it. The film no longer keeps Andy and Miranda at arm’s length but rather tears down the wall inviting Andy to carefully tiptoe in the same atmosphere as Miranda. This can be charming especially when watching Andy hold her own with Miranda in a somewhat meta stance on Hathaway’s more than successful career that has matured into Streep’s level. But it also keeps the film unbalanced when taking such an easy stance against the new world. Print media is a wonderful thing, and journalistic integrity is unfortunately hunted down every day but some of the blame is wrongfully put on the viewers and less the powers that be. By the time they blame the internet for the fifth insult you want to roll your eyes. Sure, don’t give in to false ideas but there is always truth in growth and it’s peculiar to see a film in 2026 fight against tech as if it is some railroad coming to destroy the town. 

Still THE DEVIL WEARS PRADA 2 succeeds in its glamour and finding ways to constantly defend the notion that even a magazine on fashion can give us hope. Especially when the alternative is complacency. By the time the film whips its way out to Milan the plot feels almost too large even for models. Side plots involving a new romance for Andy (one that is clearly there to combat her awful former boyfriend) as well as Emily’s new boyfriend/tech obsessive Benji Barnes (a very out of place Justin Theroux) the film feels like it never knows how loud it wants to fight that instead it settles for silly and bizarre corners that only get tied up in the actual sincerity. It becomes less impressive that all these loose ends find their way to a happy middle and more so a gasp of relief that something managed to work while the journey felt overdrawn. This thankfully doesn’t come at the cost of either Hathaway’s performance nor a tremendous Stanley Tucci, but Streep does get caught in the crossfires between becoming fully developed character one moment and just another meme worthy joke the next. 

Just like its original THE DEVIL WEARS PRADA 2 seems to believe it has a larger bite than it can display. It safeguards itself around its enemies while also never truly knowing who is at fault. It wants to be angry against anyone unwilling to go out and buy Vanity Fair while also barely scratching the surface of its own role in a destructive industry. The first film at least gave that energy a face whereas DEVIL WEARS PRADA 2 is more settled on just bringing its four leads back into the same frame. This only allows it to be something that is well fitted for the runway but still cannot walk down without stumbling in its own high heels. No matter how stunning they look. 

C+

THE DEVIL WEARS PRADA 2 IS NOW PLAYING IN THEATERS FROM 20TH CENTURY FOX