(More) Bitch, Please: "The Devil Wears Prada 2," reviewed.

Stanley Tucci and Anne Hathaway quarrel on threads.

For a much later follow-up of the type that has recently become somewhat common, The Devil Wears Prada 2 is more reminiscent of the comedy sequel model of the 1980s: Simply remake the first film after an interval of no less than 18 months or more than five years, reprising every beat and every gag. From its episodic plot to its shrugging title, DWP2 has big ‘Beverly Hills Cop II’ / ‘Crocodile Dundee II’ / ‘Ghostbusters II’ energy. And because this is a glossy Hollywood movie about characters who fully expect to be judged on their appearance, the principal cast members don’t even look much older than they did in 2006. It’s strange.

My Washington CIty Paper review of The Devil Wears Prada 2 is here.

The Torturned Seamstresses Department: "Mother Mary," reviewed.

Michaela Coel is working with phantom thread in Mother Mary. (Frederic Batier / A24)

It wouldn’t be right to say Coel acts rings around Hathaway in the title role, but their dynamic certainly leaves no question about which performer’s career is on the ascent. Coel is just as compelling holding her own against Ian McKellen in “The Christophers,” a contemporaneous release where she plays a similar part: an assistant/creative partner to an artist who has fallen on hard times. But “Mother Mary” reverses the polarity of that film: Here, she’s the one who gets most of the big speeches, while Hathaway’s performance consists largely of nonverbal reactions and then line readings choked out through tears. She’s always been one of cinema’s great cryers.

My Washington City Paper review of David Lowery’s Mother Mary is here.

Rom Dot Com: "You, Me & Tuscany," reviewed.

Regé-Jean Page and Halle Bailey spill the wine. (Universal)

Since la famiglia is both credulous and progressive to a credulity-straining degree, Anna’s big lie becomes a problem only once it turns out that Page’s Michael, whom she’s already met-cute, is Matteo’s adopted brother. How will she sustain the ruse of being promised to that narcoleptic Matteo when Michael is just standing there, usually with a bottle of his own wine, often without a shirt, fairly begging to be ridden like a Level airlines flight from JFK to Florence with a 6.5-hour layover in Barcelona? (This was the only New York-to-Italy itinerary I could find in Anna’s price range.) 

My Washington City Paper review of You, Me & Tuscany is here.

"Project Hail Mary," reviewed.

School is in. (MGM / Amazon)

Project Hail Mary, the adaptation of Andy Weir’s sci-fi novel from directors Chris Lord & Phil Miller, feels like a cuddlier version of Danny Boyle’s underseen Sunshine, or the version of Interstellar that Steven Spielberg was briefly going to make. My Washington City Paper review is here.

Artificial Stupidity: "Mercy," reviewed.

Kali Reis and Chris Pratt are pitiless LAPD cops in Mercy. (Amazon MGM Studios)

We used to crash cars in movies in this country, dammit. My Washington City Paper review of what I’m hoping will be one of the worst pictures of 2026 is right here.

Not All Trouble is Good Trouble, But "Young John Lewis" Is

Michael Bahsil as John Lewis at the Martin Luther King, Jr. Memorial (Chris Banks)

My feature on Young John Lewis: Prodigy of Protest, a new musical opening in March at Mosaic Theater, is in your Washington City Paper.

Blue Man Regroup: "Avatar: Fire and Ash," reviewed.

He sees you when you’re sleeping, he knows when you’re awake…(20th Century Studios)

I wish I could give a more full-throated endorsement to the third, not-as-long-awaited Avatar, but I’m starting to have some real reservations about my first favorite filmmaker’s life’s work. My Washington City Paper review is here. You can also hear me discuss the movie with Stephen Thompson and Reanna Cruz on Pop Culture Happy Hour below.

It's Cryin' Time Again: "Hamnet," reviewed.

Jesse Buckley (center) would like to thank the Academy in advance. (Agata Grzybowska / Focus Features)

I hope I’m not being obstinate in my Washington City Paper review of Hamnet, Chloé Zhao’s lyrical adaptation of Maggie O’Farrell’s 2020 novel. I first read about the brief life of Hamnet Shakespeare in an issue of The Sandman by Neil Gaiman and Charles Vess, published in 1990, decades before Gaiman was unmasked as a predator.