Displaying items by tag: Lucy Liu

THE DEVIL WEARS PRADA 2

US, 2026, 190 minutes, Colour.

Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Kenneth Branagh, Justin Theroux, Lucy Liu, Tibor Feldman, B.J.Novak, Patrick Brammel.

Directed by David Frankel.

We all enjoyed the original film 20 years ago. What could happen in 20 years? What are they all like now? Has Meryl Streep’s Miranda mellowed in any way? And what about Andy and Emily, just beginning their careers in those days? Have they had success? And, the ever faithful Nigel. Is he still working for Runway?

As we launch into this enjoyable sequel, overcoming the two decade gap, the entity is mainly, yes. And it is still very much the same, Meryl Streep obviously enjoying this dominating and controlling personality, very much evident as she encounters Andy and Emily again, disdain, feigning not to know them and wonders have they ever met! But, the times are certainly changing. There are threats to Miranda’s dominance. (However, she now has a husband and, unseen in the film, twins – and the advantage of having Kenneth Branagh playing her husband.)

But, the success story is Anne Hathaway’s Andy, an award-winning journalist, and, during an award ceremony just before her acceptance speech, a text to tell her and her fellow-journalists that they are fired.

In fact, this is a strong theme of this sequel, the changes from 2006 to 2026 in terms of print media, magazines, online publication, social media, the struggle to find followers, the threats to traditional publications, challenges for the future. In this way, the film is rather pessimistic about journalism, outlook and future.

But, back to Alex, she is employed again by Runway, a feature writer, still put down by Miranda, encountering Emily once more, Emily Blunt, setting up some conflicts along with challenges to business models, corporation executives, and, with quite some flourishes towards the end at a fashion show in Italy, the management of the world of fashion.

There is also a scene in the Dominican Priory in Milan with Leonardo da Vinci’s Last Supper on the wall, as a location for a social event. (And a touch of inventiveness for the romance, Andy finding an Australian boyfriend, Patrick Brammel.)

Same writer, same director as before, and they bring the relish they had two decades ago to this sequel, not so surprising, of course, but old audiences welcoming the opportunity to see and engage with these characters again. And delighting a new audience.

1. The popularity of the original film? 20 years? Continuity of the stars, age, 20 years later? Memories of the original characters?
2. New York, the world fashion, publishing, business and corporations? International sequences, Milan, fashion, the catwalks, the visit to the Dominican priory and da Vinci’s Last Supper? The musical score?
3. 20 years and changes in publications, social media, the role of journalists, reorganisations, sackings, online communications, articles, target audiences and success not? Attempts at revitalising journalism?
4. The focus on Andy, with Miranda 20 years earlier, with Nigel, with Emily? As a success, a roving journalist, the initial awards ceremony, her win, the text of their all being sacked, her vigorous speech, Irv and his son and seeing it, the offer of the job, and the later revelation that Nigel urged him on? Her life, her good friends, sharing, the enthusiasm, going to Runway, the initial encounter with Miranda and Nigel, their not knowing, going to the meeting?
5. Andy, after 20 years, success, relationships? The visit to the apartment, the encounter with Peter, Australian, friendly, her initial faux pas, meeting him again, dating conversations, his Australian direct personality? Her leaving for Milan, leaving him stranded?
6. Miranda, over the years, her manner, remembering Andy and Emily, the touch of disdain, her success? The surprise to find she was married, her husband, pleasant, musician, past drinking, supportive? That she had twins and did not spend time with them? The dependence on Nigel, taking him for granted? The upset, the meeting with Irv and his son, the plan for her to be head of editing, the attitude towards Andy?
7. Andy, hard work, writing the articles, the apology for the precarious situation about fashion and child workers? At the board meeting, raising it, Miranda off-hand? Relationship with the staff, with Miranda’s imperious assistant, with Charlie, with her new assistant, friendly?
8. Irv, the celebration, birthday, everybody gathered, Miranda and hopes for the announcement, his collapse and death? His son taking over, casual, in his father’s shadow, his board meeting, advice, the 2020s and the different approach?
9. Sasha, her success, wealth, seclusion, Miranda wanting an interview, Andy and her many attempts, final success, session pleasant, the interview, the article and success? And her past relationship with Benji? The later plan, her investment, coming to the rescue?
10. Emily, after 20 years, her manner, failed marriage, children, her manner, her work, retail? Meeting Miranda again and disdain? Meeting Andy again? Her relationship with Benji, his character, manner, imposing, wealth, promises to Emily? The meeting with Benji, the deals, Emily and negotiating with Andy, not telling the t//ruth, the buying of Runway, her being editor, wanting to be on the cover…?
11. Milan, the fashion show, the range of models, elaborate? The dinner, the visit to the Dominican priory, the Last Supper and Miranda’s comment about the leader? Her giving her speech, Andy advising Nigel to do it? Nigel, in the background, his fashion sense, friendship with Miranda, the difficulties, persevering over the years? Writing speeches – and his giving the speech and place of Miranda?
12. Andy, her ideas, collaboration with Miranda, the phone calls, all day, the plan, the final revelation, Benji and the sale, the break with Emily, Sasha and the rescue?
13. The happy ending, everybody nicer, happier? Miranda, her relationship with her husband, the discussions, his support? Her mellowing, changing – but at the end her manner and style? Andy, older and wiser, enterprising, her future?

PRESENCE

US, 2024, 85 minutes, Colour.

Lucy Liu, Chris Sullivan, Callina Liang, West Mulholland, Eddie Maday, Julia Fox.

Directed by Steven Soderberg.

An eerie opening. The camera roams through a large dark and empty house, many rooms, staircases, gazing out the windows, the eye of the camera seeming to be the Presence. And this continues even in daylight, even when a family of four arrives to look at the house in order to move in. The style of the roving camera also suggests something of paranormal activity.

And, quietly, even minimally at first, there is something paranormal.

However, the drama is focused on the family. The mother, Lucy Liu, is a business-woman, always looking at her phone, brisk and decision-making, dominant. On the other hand, her husband, Chris Sullivan, has left the decisions to his wife, is suspicious of some shady aspects of what her business might be doing, but is devoted to his children. The son, Eddie Maday, eyes on his phone, petulant towards his sister, his mother’s favourite, some tantrums. The daughter, Calina Liang, is a somewhat introspective teenager, upset at two deaths of girlfriends at her school, alleged suicides. She is the first to notice strange disturbances in her room.

Another aspect of the film is that it is presented in what it might be called short chapters, a particular focus, an incident, a conversation – and then fading to black.

This is a film by Steven Soderberg who has been making all kinds of films for 35 years, big budget (the Ocean’s series), many experimental like this one, filmed in three weeks within the confines of the house, Soderberg always acting as his cinematographer and editor (using nom de plumes). The screenplay is by David Koepp, better known for big budget screenplays.

So, the important thing about Presence is suggestion rather than dramatics. For those who are interested in family dramas, there are interesting sequences of family dynamics, especially where the father explains to his daughter his own difficulties in relating to his mother. But, there is also another character, the son’s friend who comes to visit, rather casual in his approach, but eventually taking a liking to the daughter, becoming involved in sexual activity, causing stress to the girl.

There are moments of paranormal activity, puzzling, the camera quivering, but all the time the camera observing, a presence.

There is a development towards the end of the film, unexpected, disturbing.

For the impatient audience, the process will seem too slow. For audiences who take the film as it comes, adjusting to its pace, interested in its themes and characterisations, Soderberg’s film and his style can be intriguing.

1. The title, the focus on presence? The camera and into roving is the presence? But what the camera is representing? And the overtones of paranormal activity?
2. Small budget, filmed in three weeks, within the house, the camera roving at the opening, all the rooms, staircases, the dark? The transition to the light? The camera still roving, looking out the windows? Observing the activity outside the window, cars driving past, the estate agent arriving, the workers coming into the house, the suggestion that something is awry? The atmospheric score?
3. The of the film in sections, mini chapters, the fading to black, suggestions, a touch disjointed? The effect?
4. The title, audience expectations? Horror? Scare? Or atmosphere?
5. The agent, arriving, in a hurry, turning the lights on, welcoming the visitors, explaining the mirror, persuasive?
6. The family, the arrival, the successive brief chapters, the house furnished, settling in, the rooms, the daughter’s room and the photos, the son’s room? Meals? Discussions?
7. The mother, businesslike, decision-making, love for her husband, her children, the son her favourite? On the phone, the business deals, suggestion of shady aspects? Her husband’s suspicions, his becoming exasperated, tempted to leave? Relationship with his children? The discussion with his daughter about his own relationship with his mother? The son, phone, room, moods, his friend coming to visit?
8. The suggestions of the paranormal, the books moving in the air, the camera quivering, the shelf crashing…?
9. The discussion about the two girls dying, the effect on the daughter, suicide or foul play? The sense of presence and the atmosphere of the girls and their death?
10. The friend, arriving again, friendly with the daughter, the sexual encounter, her response? His return, her resistance? The effect on him?
11. The friend, his attack, masking the daughter, the revelation about the other girls, his malice and motivation?
12. The sense of presence, alerting the brother, his rushing upstairs, seeing his friend, attacking him, their falling out the window, their deaths?
13. The consequences, the family moving out, the mother taking some time, their leaving?
14. The camera, moving out of the house, the overview of the house itself, the street, the location?
15. The overall effect, impatient viewers and its slowness, others surrendering to the style of the film and its atmosphere?