Audiences should dust off their knowledge of cerulean: The Devil Wears Prada sequel is officially happening.
The film is heading into production this week two decades after the beloved movie hit theaters, and is set to shoot in New York and Italy. Anne Hathaway, Meryl Streep, Emily Blunt and Stanley Tucci are on board for the follow-up film, which is adding Kenneth Branagh to the cast, sources tell The Hollywood Reporter.
The 2006 film, based on the book of the same name, follows Andy (Hathaway), a recent college journalism graduate as she lands one of the most coveted jobs in publishing as the assistant to Anna Wintour stand-in Miranda Priestly (Streep). Andy dives into the world of magazines and high fashion thanks to her fellow assistant (Blunt). The film grossed a massive $326 million at the worldwide box office and earned Streep an Oscar nomination.
As previously reported, the sequel will have Priestly, still the head of Runway, contending with the headwinds of publishing, with the magazine now in a diminished state. Blunt’s onetime assistant will now be an executive at a luxury brand conglomerate that advertises with Runway.
Branagh will be playing Priestly’s husband, while Tucci will return as Nigel Kipling, who served as the art director of Runway in the first film.
The new film was announced on social media, in a video featuring some of the film’s more iconic lines. See the announcement of the Devil Wears Prada sequel below.
Dr. Henry Loomis, the paleontologist played by Jonathan Bailey in Jurassic World Rebirth, at one point laments the public’s diminished interest in seeing the same old prehistoric creatures. That prompted the bottom line-driven folks at InGen, the billion-dollar biotech corporation that specializes in resurrecting extinct animals, to start crossbreeding new species. “Engineered entertainment” is what Henry calls it. The same descriptor could apply to Gareth Edwards’ new chapter in the cloned dinosaur franchise birthed by Steven Spielberg more than three decades ago. There are some mighty new monsters on the prowl, but this is primarily an assembly of recycled story beats.
Which is not to say the movie doesn’t deliver adrenalized action, excitement and white-knuckle close encounters with giant beasts whose rampaging anger at times gives them a weird kinship to the cruelly exploited carnival attractions of Tod Browning’s Freaks. How can you not feel a little bad for a hulking great mutant called a Distortus Rex — or D. Rex, just to make it more humiliating — with a head like a beluga whale? Men playing God rarely works out well, and these hybrid Mesozoic throwbacks have good reason to be pissed.
Jurassic World Rebirth
The Bottom Line
More nostalgic than new, but still roars.
Release date: Wednesday, July 2 Cast: Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Ed Skrein, Luna Blaise, David Iacono, Audrina Miranda, Philippine Velge, Bechir Sylvain Director: Gareth Edwards Screenwriter: David Koepp, based on characters created by Michael Crichton
Rated PG-13,
2 hours 14 minutes
Returning screenwriter David Koepp co-wrote the 1993 Spielberg original with sci-fi author Michael Crichton, on whose books the movies were based, as well as the 1997 sequel, The Lost World: Jurassic Park. While Koepp did not write Jurassic Park III, he had a hand in shaping the plotline. It’s predominantly the first and third installments that yield the abundant déjà vu moments in Rebirth.
But whatever the new movie lacks in originality, it makes up for in propulsive narrative drive, big scares and appealing new characters played by a terrific cast — even if they are mostly cut from an existing mold.
Colin Trevorrow got the second trilogy off to a strong start in 2015 with Jurassic World, and J.A. Bayona’s sequel, Fallen Kingdom, scored points for invention, switching gears into haunted-house territory. But the closing installment, Dominion, exposed a franchise gasping for creative oxygen, shifting away from creature-feature horror to ho-hum action-adventure. By going back almost to basics, Rebirth delivers on the promise of its title.
At the end of Jurassic World Dominion, humans and dinosaurs were edging toward coexistence, with lots more prehistoric clones out in the world beyond their sanctuary. But modern-day Earth’s atmosphere has proved inhospitable to the creatures, with many dying out or migrating to a tropical band around the equator that resembles their native Mesozoic Era climate. Tourism to the area is strictly prohibited.
A prologue set 17 years before the main action takes place in a secret InGen research and development facility on Isle Saint-Hubert near Barbados. When the containment system malfunctions due to a stray Snickers wrapper, a technician watches in horror as her lab partner is ripped apart and eaten by a mostly unseen genetic dino-mutation.
Back in the film’s present, slick Big Pharma executive Martin Krebs (Rupert Friend) puts together an illegal expedition to accompany him to the island and help extract DNA from the three most gargantuan species inhabiting land, sea and air — respectively, the herbivorous titanosaurus, the aquatic mosasaurus and the flying quetzalcoatlus. Scientists at his corporation, ParkerGenix, believe those samples contain the key to revolutionary heart disease medication, worth trillions to whomever lands exclusive control.
Krebs first enlists Zora Bennett (Scarlett Johansson), a tough ex-special forces operative, now a private contractor in situational security and reaction — “a mercenary,” as Dr. Loomis, who’s next on the recruitment list, puts it in a good-natured dig. Still hurting from the loss of her training mission partner in Yemen, Zora sees Martin’s $10 million fee as an avenue to retirement from a punishing field. (Though judging by how comfortable Johansson looks in tank tops, cargo pants and grimy sweat, Zora seems unlikely to bow out anytime soon.)
They rendezvous in a Suriname port town with Duncan Kincaid (Mahershala Ali), captain of the Essex, a repurposed military patrol boat that will get them to Isle Saint-Hubert. Like his old friend Zora, Duncan is still pained by a tragic family loss; the two of them pull a crafty move to get Krebs to bump up Duncan’s fee.
Duncan’s crew includes obnoxious head of security Bobby Atwater (Ed Skrein), Haitian co-pilot LeClerc (Bechir Sylvain) and deckhand Nina (Philippine Velge). Anticipating the order in which they become dino-snacks is a fun guessing game.
Because it wouldn’t be a Spielberg-affiliated Amblin picture without at least one kid in peril, an initially separate plot strand tracks a family sailing trip aboard La Mariposa, a sloop skippered by Reuben Delgado (Manuel Garcia-Rulfo). Since his divorce, Reuben’s daughters, college-age Teresa (Luna Blaise) and 11-year-old Isabella (Audrina Miranda), have lived with their mother. The vacation is Reuben’s attempt to reconnect with them, though he’s not thrilled to have Teresa’s lazy stoner boyfriend Xavier (David Iacono) along for the ride.
In the first of the many extended action set-pieces that are director Edwards’ forte, La Mariposa is sideswiped by a mosasaurus and capsized. The Essex picks up the family’s mayday signal, and while Martin — gradually revealed to be the usual unscrupulous corporate creep — insists on sticking to their extraction mission, not getting sidetracked with search and rescue, he’s overruled by the others.
Koepp’s script, after taking its time over character development, sticks to the recipe: Add dinosaurs and stir. That accelerates once the Essex gets hammered by a spinosaurus attack, with Teresa in a hairy close call that reveals further damning evidence of Martin’s untrustworthiness. They veer into the rocky shallows of Isle Saint-Hubert, hoping the predators will be too large to follow. But they end up shipwrecked there, with the Delgado group separated from their rescuers.
Shot (like Spielberg’s original) with Panavision cameras and anamorphic lenses on 35mm, the jungles of Thailand that stand in for the island offer spectacular visuals. DP John Mathieson’s dynamic shooting style keeps the pulse racing as the two parties weave their way through dense vegetation in which every unnerving sound or rustling of leaves amps up the tension.
Given that the abandoned InGen facility runs on geothermal power from hot springs, they figure it will be the best place to get help. A gas station convenience store certainly makes it ideal for product placement — Dr. Pepper, Lay’s potato chips, Cheetos, etc. — not to mention the best place to replicate the kitchen scene in Jurassic Park in which velociraptors stalk two children. This time it’s a squawking quetzalcoatlus, smart enough to follow the fleeing humans into the underground tunnels that connect the village.
That same pterosaur species features in a scene in which Zora and Henry rappel down a vertiginous cliff to an ancient temple carved into the rock face, where they extract a sample from a nest of quetzalcoatlus eggs. Mom is not pleased to find them in the rookery.
Much of the humor comes from bespectacled Henry’s lack of preparedness for field operations, having spent his working life in museums, and from his bantering flirtation with Zora. Bailey and Johansson, both in excellent form, inject a lot of charm into the evolving rapport between these two opposites — one an idealistic science guy, the other a swaggering combat vet who nonetheless is receptive to Henry’s misgivings about the ethics of the ParkerGenix plan.
One of the most memorable sequences — and the one that most recalls the poetic, quasi-spiritual sense of wonder in Spielberg’s original — is when they reach a lush green valley full of grazing titanosauruses. Henry is like an enchanted child, dumbstruck at the sight of these gentle giants and almost unable to contain his emotions as he strokes one of the creatures’ massive legs. Alexandre Desplat’s rich orchestral score, incorporating John Williams’ classic theme music, effectively punches up action scenes, but it’s especially lovely in these tender moments.
The other major source of heart in the movie is the growing closeness of the Delgado family. Having Isabella shocked into silence by the ordeal but rediscovering joy through a cute critter she carries in her backpack and names Dolores — a puppy-like, animatronic creature known as an aquilops — is so Spielbergian it’s corny. But the sweetness is also disarming. Likewise, Reuben’s increasing respect for Xavier, who turns out to have more going for him than his flaky slacker demeanor might indicate.
Franchise superstar the T. Rex, with its bilious roar and tiny hands (I’m not going there), makes a welcome return. Woken from sleep on the banks of a river on which the Delgados attempt a raft escape over rapids, the massive therapod thunders after them — it swims! — in a scene that reaches peak nail-biting suspense when Isabella is separated from the group.
The blend of physical locations with sets and digital imagery is seamless and the CG work on the creatures is first-rate, notably so in the scary climactic stretch when the lumbering D. Rex joins the fray. Edwards clearly is a devoted Spielberg fan, embedding subtle homages throughout, notably in the open water sequences that recall Jaws. Jurassic World Rebirth is unlikely to top anyone’s ranked franchise list. But longtime fans (count me among them) should have a blast.
Sofia Carson and Corey Mylchreest are giving Netflix viewers a new love story for the (Oxford) books.
The streaming service unveiled the trailer Monday for its upcoming film My Oxford Year, based on a novel of the same name by Julia Whelan.
The story centers on Anna (Carson), a young American woman who sets out for the U.K. and the University of Oxford to fulfill a childhood dream. But things change when she meets “a charming and clever local” (Mylchreest) who “alters both of their lives,” according to the Netflix synopsis.
Throughout the trailer, Anna and Jamie have an attraction that builds to them having a “fun” fling. The two may share a love of poetry, but when feelings seemingly grow, obstacles begin to put a stop to their relationship.
“Don’t waste the short time you have left in Oxford on me,” Mylchreest’s Jamie tells Carson’s Anna. However Anna begins to suspect there’s something he’s not telling her. “You don’t need to fix my life. Some things are just broken,” he says.
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“A succession of moments is really all we have, and I want mine to be with you,” Carson’s Anna says.
Iain Morris directs from a screenplay by Allison Burnett and Melissa Osborne with Carson executive producing. In addition to Carson, Caroline Levy, Christopher Simon, Maggie Monteith, Pete Harris and Carson’s mother, Laura Char Carson, exec produce the film. Marty Bowen, Wyck Godfrey, Laura Quicksilver and Isaac Klausner (for Temple Hill Entertainment) produce and George Berman co-produces.
Ryan Gosling isn’t convinced that venturing to outer space seems like a blast in the first trailer for Amazon MGM Studios‘ sci-fi movie Project Hail Mary.
Phil Lord and Christopher Miller directed the film that hits theaters March 20, 2026. Sandra Hüller and Milana Vayntrub also star in the feature that adapts author Andy Weir’s novel of the same name.
Project Hail Mary centers on middle school teacher Ryland Grace (Gosling), who finds himself on a spaceship with no memory of his past or how he ended up there. His interstellar mission, which must be successfully completed in order to save Earth from a potential disaster, leads him to meet a mysterious alien who also seeks to save his own species.
The film’s first footage debuted at CinemaCon in April and included Hüller delivering a dire warning. “The sun is not the only star dying,” she explains in the trailer. “If we do nothing, everything on this planet will go extinct.”
Upon hearing that the individual chosen for the risky mission may not return, Gosling has no interest in volunteering. “I understand the stakes — I do,” he says. “But my place is in the classroom.”
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Lord and Miller helmed the film from a script by Drew Goddard that adapts Weir’s 2021 book. Gosling, Weir, Lord, Miller, Amy Pascal, Aditya Sood and Rachel O’Connor serve as producers.
Project Hail Mary marks Lord and Miller’s first release as directors since 2014’s 22 Jump Street starring Jonah Hill and Channing Tatum. The filmmakers had previously been working on the 2018 film Solo: A Star Wars Story before they were replaced by Ron Howard.
In describing the new movie at CinemaCon, Gosling quipped of Lord and Miller, “They are only happy if they make you do the very rare and coveted laugh-cry.”
Eastwood made the then-controversial decision to star in “Every Which Way but Loose” opposite a trained orangutan named Manis. The action-comedy saw him and his co-star travel across the United States in search of a woman Eastwood’s character has convinced himself is his soulmate — and wouldn’t you know it, the movie was a hit, spawning the 1980 sequel “Any Which Way You Can,” which saw Eastwood and his ape buddy team up once again. The sequel wasn’t quite as successful and took a drubbing from critics. But its star had already proven he could handle comedy with “Every Which Way but Loose,” which represented a big change of pace for an actor who’d started the decade playing rugged rogue cop Harry Callahan in “Dirty Harry.” Regardless of how the sequel performed, then, audiences had already responded favorably to Eastwood playing against type, and he thereafter dabbled in more lighthearted fare.
Unfortunately, not every comedy Eastwood fronted after that hinge moment in his career performed as well. Take 1989’s “Pink Cadillac,” in which the veteran star portrayed a bounty hunter with a proclivity for elaborate disguises. The action-comedy saw Eastwood re-team with “Any Which Way You Can” director Buddy Van Horn and, once again, the results weren’t great. Critics did not take kindly to the movie, though it did at least give us an undeniably funny scene in which the gruff Eastwood encounters a young Jim Carrey doing what the comedian does best.
Jim Carrey and Clint Eastwood’s brief on-screen collaborations
Warner Bros.
Jim Carrey and Clint Eastwood actually crossed paths for the first time in 1988’s “The Dead Pool,” one of the worst of the five “Dirty Harry” movies. In this final film in the franchise (unless you count the spiritual sequel “Gran Torino”), Carrey can be seen playing a heavy metal frontman whose most memorable scene involves lip-synching to “Welcome to the Jungle” in a music video homage to “The Exorcist” directed by Liam Neeson. (You might be starting to understand why the film was received so poorly.) Carrey doesn’t last long in the movie and doesn’t have any scenes with Eastwood, but he’d get another chance to work with the veteran star a year after “The Dead Pool” debuted.
In “Pink Cadillac” Eastwood’s Tommy Nowak tracks down Bernadette Peters’ Lou Ann McGuinn, who has skipped bail and absconded in the titular vehicle along with some money belonging to a group of white supremacists. He finds her in a casino and sits down at a table while a comedian performs on-stage in the background. That comedian is Carrey, who can even be heard delivering an early rendition of his now classic Ace Ventura line “Alrighty Then” in the film.
As Nowak and McGuinn chat, the camera cuts to Carrey doing his schtick, which, in this instance, is an Elvis tribute performed with his arms tucked inside his shirt. Eastwood scowling at Carrey prancing around on-stage is inarguably funny and seems to represent exactly how the actor would feel if he encountered Carrey’s antics in real life. It very much has the same energy as Tommy Lee Jones’ famous rebuke of Carrey during the filming of “Batman Forever,” in which he told the then-young star that he could not “sanction” his “buffoonery.” In this brief scene in “Pink Cadillac,” that’s pretty much what I imagine Eastwood is thinking. Sadly, the rest of the movie isn’t as funny.
We should have gotten a full Jim Carrey/Clint Eastwood team-up
Warner Bros.
“Pink Cadillac” was the third collaboration between Clint Eastwood and director Buddy Van Horn, who, aside from directing “Any Which Way You Can,” was also responsible for “The Dead Pool.” That’s not exactly the finest contribution to Eastwood’s celebrated oeuvre (though Carrey’s music video performance in the latter is one of the greatest “Dirty Harry” movie moments), but at least with his 1989 action-comedy the filmmaker had finally succeeded in bringing Eastwood and Jim Carrey together in a single scene. Otherwise, “Pink Cadillac” was mostly dismissed by critics, though some found it charming enough.
The movie fared only slightly better than the 20% score for “Any Which Way You Can” on Rotten Tomatoes, with a 24% critic score based on 21 reviews. Roger Ebert found the movie dull and its tone uneven, writing, “There’s little that’s new in the material, and nobody seems to have asked whether the emotional charge of blatant racism belongs in a lightweight story like this — even if the racists are the villains.” Similarly, Caryn James of the New York Times described the film as “the laziest sort of action-comedy,” with “lumbering chase scenes, a dull-witted script, and the charmless pairing of Mr. Eastwood and Bernadette Peters.” If anything, it would have been better to team Eastwood with Carrey and let the two clash throughout — especially since one of Carrey’s best early impressions was of a “Dirty Harry”-era Eastwood.
Still, some were quite taken by “Pink Cadillac” with Jonathan Rosenbaum of the Chicago Reader seemingly having seen an entirely different movie. He wrote in his review, “As a deeply personal work about free-floating existential identities, this 1989 film has the kind of grit and feeling that few action-comedies can muster, with Eastwood and Peters interesting and unpredictable throughout.”
When you’re Dwayne “The Rock” Johnson, you’re used to being the biggest guy on the 2025 movie schedule, and, in almost every case, the biggest in the room. But even the past and present People’s Champion knows when to bow down to a real giant. And, just recently, he did just that with a smile (and a jab at Kevin Hart). That’s right, The Rock met up with Shaq, and the former WWE star couldn’t help but take the opportunity to troll his Jumanji co-star.
In a series of photos posted by Shaquille O’Neal on Instagram, the NBA legend shared a backstage moment with The Rock and a guest at the T-Mobile Arena in Las Vegas. What stood out? The sheer size difference. Standing next to Shaq, Johnson looked almost, dare we say, average-sized. Naturally, the wrestler turned Hollywood a-lister took it like a champ—and turned it into the perfect opportunity to roast his longtime friend in the comments:
hilariously trolling each other across social media, interviews and other press events Whether it’s Johnson mocking Hart’s height or Hart teasing the Black Adam star’s action movies and bald head or “presidential energy,” the back-and-forth has become one of Hollywood’s most beloved celebrity bromances (And some even think it’s a conspiracy.)
But this latest social media moment also highlighted something else: just how massive Shaquille O’Neal is. At over 7 feet tall and weighing in at over 300 pounds, the former Lakers star dwarfed both Johnson and his companion. It’s no surprise the box office titan felt compelled to crack a joke. When even a 6’5”, 260-pound action hero looks like a fun-sized version of himself, there’s really only one way to handle it: cracking jokes.
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To his credit, the Rampage actor has always been great at mixing self-deprecation with star power. Promoting a billion-dollar franchise or dropping a tequila brand, The Rock never misses the chance to laugh at himself or drag his buddy Hart into the punchline.
So, now, the ball is in the Ride Along star’s court. Given his reputation for roasting the Fast & Furious alum in return, there’s at least a firm chance that a comeback is imminent. Will it be another video edit with a baby voice filter? A Photoshopped meme? A fake text thread? With Hart, anything is possible, and that’s why fans love it.
In the meantime, both stars are staying busy. Dwayne Johnson is set to take a dramatic turn in A24’s upcoming Mark Kerr biopic, The Smashing Machine, hitting theaters October 3. Meanwhile, Hart has multiple projects on the way, including a Netflix comedy called 72 Hours.
