There's absolutely no chemistry between Anne and Adrian. How the hell did they cast him for this role?! Everyone else is brilliant. Classic fun, love this movie.

It's a comfort movie to me that I love to rewatch. All the actors were amazing and it's just a fun, feel-good story. The only thing I have with this is why the main character had to loose weight when she was already pretty skinny, but okay, it was the 00's obsession with skinniness I guess.

Also, the true villains in this movie were the boyfriend and her friends, she was finally doing something she loves and they were hating on her for being successful. Okay, she was super busy and she missed a few social things, but when she started they already knew it was going to be a taxing job. And she only wanted to do it for a year so that after that she could have her pick at any other job. Truly they were holding her back and not celebrating her....

Even though she portrayed variations of the same demonic character in 1989's "She-Devil" and 1992's "Death Becomes Her", Meryl Streep truly nails it in this smart, creative 2006 comedy by underplaying the role and saving her verbal talons for pivotal moments. As Miranda Priestly, the despotic editor-in-chief of Runway magazine, Streep simply singes the screen every time she appears with her perfectly upswept hair; arrogant couture opinions and frequently unreasonable demands on her staff.

Fortunately, director David Frankel has come along well since his 1995 Woody Allen knockoff, the irritatingly unctuous "Miami Rhapsody", and one can see his progression in his smart work on episodes of "Sex in the City" and "Entourage". He moves the film at such a sharp, fast clip that it feels like an accurately frenzied portrayal of the inner workings of the world of haute couture. The one-line zingers also come fast and furious thanks to Aline Brosh McKenna's deep-dish script based on Lauren Weisberger's best-selling novel, but the vitriol does not come at the expense of character development and a shrewdly observed storyline about all-or-nothing careers when working for media royals and courtiers.

The plot's protagonist is not Priestly but Andy Sachs, a young idealist and aspiring journalist who just graduated from Northwestern. Even though she has no interest in fashion, she lands an interview at Runway. Because she is not a typically bootlicking, anorexic fashionista toady, Priestly hires her as her second assistant. It becomes a nightmarish trial by fire, as Andy slowly earns the trust of Priestly much to the chagrin of the haughty first assistant Emily. And despite the derision of her circle of friends, including her live-in boyfriend, Sachs starts to respect Priestly's style and power, which leads to the decision to have Andy go to Paris for Fashion Week. Further complications ensue when a hotshot writer takes an interest in her and a power struggle erupts at Runway.

It really takes someone of Streep's caliber to pull off the impossible character of Priestly because when she does have a moment of vulnerability, it resonates so much more than it should. Although she is far too pretty to be considered frumpy by anyone's standards, the naturally likable Anne Hathaway plays Sachs serviceably and looks sensational in a series of Chanel outfits. She brings the necessary heart to the story, even though the character arc is rather predictable. It does seem a shame that we are supposed to cheer the character's reduction from size 6 to 4, but that is probably as accurate as anything else in the film.

There is terrific work from the reliable Stanley Tucci as Nigel, Runway's no-nonsense fashion director, especially as he patiently works under Priestly's shadow and gives Sachs hard-to-take survival advice, and from Emily Blunt, who plays first assistant Emily with the ideal combination of vitriol and desperation. Overly metrosexualized with the strangest blond eyebrows I have ever seen, Simon Baker lends an appropriately smarmy edge to his writer Christian Thompson. Far less interesting are Sachs' judgmental friends, in particular Adrian Granier as Sachs' sous-chef boyfriend and Tracie Thoms as art gallery owner Lilly. The ending is inevitable, but it moves in a creative way that makes neither Sachs overly heroic nor Priestly absolutely villainous. This is solid entertainment elevated by the artistry of Streep.