THE DEVIL WEARS PRADA 2 (2026)

 

Directed By:  David Frankel 

Written By: Aline Brosh McKenna

Based on characters created by: Lauren Weisberger

Cinematography: Florian Ballhaus 

Editor: Andrew Marcus 

Cast: Anne Hathaway, Meryl Streep, Stanley Gucci, Emily Blunt, Lucy Liu, Tracie Thoms, Justin Theroux, B.J. Novak, Simone Ashley, Kenneth Branagh, Tibor Feldman, Helen J. Chan, Caleb Hearon, Patrick Brammell, Rachel Bloom, 

Andy Sachs reunites with Miranda Priestly as they navigate their careers amid the decline of traditional magazine publishing.

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This film from the get-go was a mix bag as I loved the book and I loved the first film and was partially looking forward to a sequel even though I partially believed it’s probably not going to be as good and then once I saw the trailer is that feeling became more and more apparent.

The film is not based on the book sequel REVENGE WEARS PRADA: THE DEVIL RETUENS 

So now that I have finally seen this film, I can honestly say it doesn’t hold a candle to the first film. It’s more like a nice try, but it’s not entirely all of the films fault as it’s nice to catch up with the characters and see what they’re doing the problem with this film is really how times have changed.

How when the first film came out, there were still magazines. It was still an industry, and the fashion industry still felt creative and of quality when it came to art photography, even though it’s all about sales in the end and showcasing they just seems to be a grand or presentation when it came to magazines and print, and at least there were articles and interviews that seem to make it more worthwhile whereas now everything is on the Internet, so kind of has a gloss to it, but it feels uninspired more shiny sort of like the materials at some clothes are made up how some of these days are more disposable then build to last and that is the fate of this magazine within a film and it feels like that is the state of this film. As well as where it almost feels like culture is going.

It’s very glossy, but it feels impersonal and very disposal. It’s not as much fun and ultimately becomes disappointing now maybe because the first film dealt with growth and learning from a young female character learning her way around the ropes and now we have this character more at middle age coming to terms with her life so that’s not as endearing to the audience, even if it is partially identified and though there are stakes, they don’t seem to be very high or dramatic. Again it’s almost like the Judd apatow movie. THIS IS 40 where we’re watching the trials and tribulations of the characters, but they are in such a verified error of the 1% and that it’s really hard to really feel anything or truly worry because you know they’ll land on their feet quite easily they just might not have the same high positions they wanted

While the film obviously has its moments it also never quite feels fun like the first filmed, especially as everybody just seems to be going through the motions. they might seem to be having fun to revisit these characters and come together, but they also still feel a bit on autopilot making them mainly bland, even though why they stood out in the first place was that they were colorful one can understand that for Anne Hathaway‘s character as she was growing up and morphing in the first film here she just feels very bland, but wisened.

Miranda Priestley as played by Meryl Streep is still an iconic character, but while she still continues to have her high maintenance, the film softens her and gives examples of how she has to handle herself in this more delicate culture. 

Luckily, the film isn’t all bad and it does try but again it just never feels quite inspired or creative as it could be just like how the offices in the first film felt a little more grand and permanent but by the time we get to the sequel, the offices feel small filled more with people that you’re not quite sure what they do in while being more modern it doesn’t quite feel built to last. It’s good enough for now, but no one will claim to miss it within a few years.

Happily, they never really lean into a romantic angle, even though they hint at it as it seems that all films with women over a certain age being single we must throw one a love interest, even if it kind of feels like it’s padding the movie down with filler and to give her some kind of life outside of the office

It never feels as grand as it should privileged sure but never as much as a spectacle. It has the same effect as when Glenn Close went from 101 DALMATIONS to 102 DALMATIONS  movies where it doesn’t have quite that same magic when it goes off the reservation and away from where it was based so much.

This is a sequel that never really needed to be made but for fans of the original, you’re going to want to see this film probably as completed, but don’t say you weren’t warned

Grade: C 

REUNION (2024)

 

Directed By: Chris Nelson 

Written By: Willie Block and Jake Emanuel 

Cinematography: Dino Parks 

Editor: Rick Grayson 

Cast: Billy Magnussen, Lil Rel Howey, Jamie Chung, Nina Dobrev, Jillian Bell, Michael Hitchcock, Chace Crawford, Dianne Doan, Cassandra Blair, Shaun White 

Snowbound at their high school reunion, former classmates uncover a murder and scramble to identify the killer among them before they’re all iced out for good.

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This film is OK a pretty good time waster though it’s comparison to the similarly themed and released television series from Apple TV THE AFTERPARTY is truly it’s downfall, which is a shame as if not for that this would’ve been a good comedy

So if you haven’t seen THE AFTER PARTY, this actually might be something you’ll enjoy but if you have, you’ll see how much more creative the show is with it story as well as similar characters in their development in African-American protagonist who looks more and more like the guilty party, the unexpected reveal of the killer and an Asian female love interest for one of the characters. 

What is film does have going for it is a good cast. That all deserve better, but strangely always seem cast in these types of films that goes straight to streaming have interesting premises but don’t quite live up to their potential and could easily be better and seem to lack a certain flare

I will admit I have a weakness when it comes to actress Jamie Chung. I remeber her from THE REAL WORLD reality television show and is one of the breakout successes of it but never given that respect or credit.  as I believe her to be one of the most beautiful actresses who seems to never get the right or that many good roles she should definitely be a star by now, but seems stuck in these clunky, comedies and roles where she has very little breakout potential, but is easily the most interesting or best thing in it. In films like this. BURNING PALMS, STONE COLD FOX and the television series LOVECRAFT COUNTY. Though at least she is constantly working 

She’ not alone most of the cast are recognizable and deserve better then this Billy Magnussen, Lil Rel Howey, Jillian Bell, and Nina Dobrev as most of them have been scene stealers  and comedic relief in bigger films. They just never quite got their chance to shine in their own high-quality film.

It also doesn’t help that by the end once the killer is revealed it just feels like they just threw it out there because they were running out of time as they don’t really explain motive they give a blanket one, but after you’ve spent so much time with these characters, it would be nice if it ran a bit deeper than what we are given

The film is a perfectly fine time waster but it seems to just get by and never go for the juggler when it can. It never takes the opportunities it sets up. It never quite pushes the envelope or trusts itself to go further or be better so that it always just stay safe and in the mid range and you can feel the frustration watching it.

The cast seems to be having fun and enjoying each others company. As half of them are exec producers and producers of the film. 

The one thing it does have going for it is that it does set out clues so you can’t say that the ending is made up and it does have a high rewatch ability factor even if it doesn’t quite succeed.

Grade: C 

MIKE & DAVE NEED WEDDING DATES (2016)

 

Directed By: Jake Szymanski 

Written By: Andrew Jay Cohen and Brendan O’Brien

Cinematography: Matthew Clark 

Editor: Lee Haxall and Jonathan Schwartz 

Cast: Zac Effron, Adam DeVine, Anna Kendrick, Aubrey Plaza, Sugar Lyn Beard, Alice Wetterlund, Sam Richardson, Mary Holland, Stephen Root, Stephanie Faracy, Lavell Crawford, Kumail Nanjani, Marc Maron, Jake Johnson, Erik Griffen, 

Two hard-partying brothers place an online ad to find the perfect dates for their sister’s Hawaiian wedding. Hoping for a wild getaway, the boys instead find themselves out-hustled by an uncontrollable duo.

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Oddly based in a true story but obviously loosely for maximum fun with the premise. 

No one is going into this room, expecting a masterpiece or a great dramatic acting so as long as you take this film at face value, I think you will most likely enjoy it.

This is one of the last juvenile, modest budgeted comedies that was given a lot of promotion, but didn’t quite live up to expectations. As now this film would probably be made more for streaming, though wouldn’t have as healthy of a budget and would seem like it was filmed on sex more than actual lavish locations so in other words, it was one of the last of a dying breed.

These were the types of films that were big in the 90s and 2000s were just seemed like you put a recognizable name stitch a plot together and put a whole lot of randomness and funny ideas together and hopefully it works. 

Now, while this film isn’t special in itself, it is a good time waster and if you’re into this type of raunchy, but not over the top juvenile humor, you might find yourself entertained. As throughout it refers to other body comedies such as. THE WEDDING CRASHERS, as it is clear that is what it aspires to be.

Now, while Adam Devine handles more of the silly goofy character comedy, Zac Efron is more the hot but dim character who has a good heart and while they are at the center of the film, the film surprisingly let’s the comedy team of Aubrey Plaza and Anna Kendrick Moore handle the more crazy over the top comedic scenes and characters.

As while their film is stocked with a lot of great supporting actors, most of whom our comedians and helped really sell the film in it situations the two standouts surprisingly or Anna Kendrick an Oscar nominated dramatic actress who is could hear playing a slightly dim and emotional party girl who had a chance to settle down and was briskly taken away from her, and it’s still going through the trauma of it, but realizes the damage that has been done to her and buy her.

The other actor who shines here is Sugar Lyn Beard, more of a supporting character, and at first her character is straight least, but throughout the film, she becomes more and more unhinged and untangled due to the other characters and the places that she finds herself are so strange, but she seems just to roll with it and truly just cracks up the audience. She’s played these roles before in other films more and smaller doses but here she really gets a chance to shine. 

Other than that, the film is entertaining, but doesn’t bring anything new to the table it offers what is expected with a few surprises at how far it goes.

It’s a shame one wishes there were more movies like this coming out that just feel relaxing. That aren’t overly stupid but aren’t necessarily that smart or trying to change the comedic film landscape. It’s also nice to see films like these that don’t necessarily have stars per se, but recognizable comedic actors who finally get to play more leading roles or get to have more meatier more fun roles.

Grade: C+

72 HOURS (2026)

 

Directed By: Tim Story 

Written By: Jon Hurwitz & Hayden Schlossberg, Kevin Burrows and Matt Mider 

Cinematography: Larry Blanford 

Editor: Peter S. Elliot 

Cast: Kevin Hart, Mason Gooding, Marcello Hernandez, Kam Patterson, Ben Marshall, Michael Mando, Kevin Dunn, Andy Garcia, Mike Epps, Teyana Taylor, Megan Suri, Zach Cherry, Sophia Del Rio, Katt Williams 

A 40-year-old executive ends up at a three-day bachelor party with twenty-somethings after being mistakenly included in their chat group.

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Obviously, this film is critic proof as none are going to critique this for artistic merits. Though at this point one can say this isn’t a good film and is easily forgettable, but for some it will be entertaining for its time. As there are moments that garner a laugh or a chuckle usually do more to gross out humor.

This film seems to be a little more risky as there is a lot more drug humor in this than expected. As the film seeks to push the envelope, but not go over the cliff Like THE HANGOVER. It still seeks to be a little bit more pain.

Though Kevin Hart stars in this film, really you could’ve inserted any actor or comedic actor superstar in the lead role and might’ve had pretty much the same results

As throughout the film, there seems to be plenty of set ups that are not followed through upon and only use for that scene maybe to lead into another scene and that seems to be how recognizable members of the cast are they’re here more for cameos to play a role for a scene maybe two and then they’re out maybe not forgotten but definitely not followed up on they’re there just to play they’re seeing and not really giving any gravity a reason to be there just Moore isn’t that

The story really makes no sense and unfortunately, none of the cast really stands out or makes an impression they go through the motions, but even their banter doesn’t sound like it was improv or even that well written, it seems more standard bad joke writing

Even the characters seem like they’re more outlines and seem lazy and more ready to go as the supporting cast is played by several recognizable members of the current SATURDAY NIGHT LIVE cast ensemble. you would think they would have something to ad for at least help 

It has a ridiculous cameo at the end for a reveal that definitely feels a bit similar to Kevin Hart’s previous film RIDE ALONG. With an actor who I won’t reveal but at this point feels like he’s under contract to Netflix as he always seems to pop up randomly in their movies.

Can’t say that this film really had a chance as it seems less than inspired and more directed as a mood or in the frame of mind it tries to put you in. It’s so pretty disappointing, popcorn, film, and that may be if you’re under the influence you might be able to find some worth in as truly. The only memorable part of this film is the bachelorette party and that’s about it.

you could definitely skip this one

Grade: D 

JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME - FILE #0077: SIRAT (2025)

 

Directed By: Oliver Laxe 

Written By: Oliver Laxe and Santiago Fillol 

Cinematography: Mauro Herce 

Editor: Cristobal Fernandez 

Cast Sergi Lopez, Bruno Nunez Arjona, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou 

A father, accompanied by his son, goes looking for his missing daughter in North Africa.

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Please watch this film before anyone can spoil any of it for you. 

There is so much one wants to say about this film

This film is more of an experience. All its own. Then something you just watch and rate. As it makes you Feel many things throughout. 

Perfectly titled, as it truly lives up to its appetite, which you truly only understand by the end

Imagine a movie centered around and filmed a club or on MTV spring break centering on the dance floor and dancers as well as the music only with a loose plot to interact with the dancing and Revels. Throughout broken up scenes and establishing shots of actual actors done for that you are here for you or spontaneous things happen or caught on camera. Like the movie CLIMAX 

Only here Based around the main characters of father and son looking for their missing daughters/sister, which keeps it from being an on the ground documentary so more staged docudrama.

That is what I thought this film would be until it finally bared down and focused after I would say the first 15 to 20 minutes

What we do end up getting is a film that is useful less stylized and more radical. That is a road movie based around ongoing road trip through back roads in the desert. As the film plays like a tempo with brakes between tracks.

The characters, other than the lead, father and son, the so-called ravens are not the Hollywood version. These are more not only international, but older and middle aged as well as weathered characters who just seemed to go with the flow of life some disabled some just lost so I’m looking for the next party or to see where the wind takes them so they form a kind of loose knit family themselves. 

The film is kind of a thrill throughout as you never know where it’s going and where we are going with these characters. It becomes hypnotic . 

The film does manage to be shocking. As it doesn’t go where expected. Especially when you think you know how everything is gonna play out, which is one of the reasons one believes they got nominated for best foreign film, other than just its unpredictable mnature. Presented as a loss journey that is surprisingly emotional, though never allows itself to be sentimental as it is unflinching.

The film is a kind of unknown suicide mission of sorts that no one knows they are voluntarily going on though always seems to want to have hope even in the worst situations. A dance through hell

As the desert situations can be beautiful, but are also dangerous and deadly, so there’s always that threat looming which creates great tension as well as the father, never quite trusting the group at first, even as they seem to come through for him, though also them being quite cautious of him without him being with child certainly helps them to open themselves up more though the film does present us with plenty of worst case scenarios

The film does offer a sucker punch of a third act. As characters we grow to know and care about are threatened. Where we in the audience never truly expect to care so much. Are pushed to the edge. This isn’t a film about a journey but one of acceptance. 

This is a truly unforgettable film. That seems like it will be a party, but ends as a nightmare. 

Grade: A