The devil wears Primark: is the romcom reporter about to get the sack?

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Glamour? Money? Hope? They’re so last season. With fashion magazines on their knees, where does that leave The Devil Wears Prada 2 – and its famously relatable heroine? Runway magazine is collapsing. Miranda is eating in the cafeteria and flying economy. Andy is the new features editor. Emily is dating a billionaire. Somebody dies. Amelia Dimoldenberg makes a cameo. But the one unexpected detail in The Devil Wears Prada 2 that I can’t stop thinking about is this: Andy worries that she’ll never be in a position to unfreeze her eggs. “Left New York for 15 years, not married – never found the right person, and my kids are at a doctor’s office on 85th,” she breezily reports to Emily when they reunite after 20 years. “They’re eggs,” she clarifies, adding that she is excited to have children. And in that moment, I couldn’t help but wonder: was the woman who once had the job “a million girls would kill for” always this relatable? Continue reading... from Film | The Guardian https://ift.tt/...
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The Fabelmans review – Spielberg’s beguiling ode to a life made by movies will leave you on a high

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The director’s 1950s-set semi-memoir brilliantly examines how we edit our own life stories, and the repercussions

Steven Spielberg’s utterly beguiling fictionalised movie-memoir is his new adventure in Panglossian optimism, and offers us a stunning critical insight into his own work and how and why artists cauterise childhood pain and rewrite their youth. Movies are not exactly a matter of “escapism” – a lazy and misleading word – but all about intervening in real life, reordering the landscape, addressing frailty and vulnerability candidly, but from a position of strength.

Young Spielberg is reborn as Sammy Fabelman, a little kid in 1950s New Jersey who is hit by cinema as by a bolt of lightning when he sees Cecil B DeMille’s The Greatest Show on Earth; he is stunned by the train crash scene, which he obsessively re-stages at home with a toy train set and an 8mm camera. Like most of the movie, this is based on a real event, or anyway a real memory, and Spielberg may also want us to think of Orson Welles’s comment that a movie studio is the “biggest electric train set any boy ever had”. The one movie legend Sammy eventually does get to meet in the flesh is John Ford, played here by another movie legend that it would be unsporting to reveal in a wonderfully funny and inspirational final scene.

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