Stevecorp Don't listen to the negative reviews

CrawlerChunky In truth, there is barely enough story here to make a film.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

rainmakerrific I loved this documentary: clearly, Anna Wintour wears Prada. In the flesh. Whether or not you have any interest in fashion, this is a relevant piece that delves into the inner-workings of a POWERHOUSE of institutions...& how she runs a fashion magazine. This work is undoubtedly a labor of love, an obsession, a life, a religion, an undeniable passion that demands a sacrifice of self. Anna Wintour IS Vogue. She takes care of business like she was born to do it -- & unlike anyone else. It is awe-inspiring how much ONE PERSON can influence/change the world. Witnessing that, alone, makes this film worth the time to watch.While the movie unfolded, it was difficult to refrain from comparing Anna Wintour to the character of Miranda Priestly, for obvious reasons. Anna Wintour's Vogue turned out to be much more interesting to me than any bit of THE DEVIL WEARS PRADA. There was nothing condescending about Anna Wintour's countenance, comparatively. She is stoic, unwavering, steady, certain, respectful, honest, demanding, strict, serious -- yes. But not demeaning. HOW TO SAY "NO" WITHOUT FEELING GUILTY has nothing on Anna Wintour! Long live the Queen.

badgersdrift I'm 74, never bought a copy of Vogue in my life, my brief exposure to the rag trade didn't (to say the least) endear it to me, I'm not even a movie fan. But I was utterly enthralled by this movie. Most thought-provoking documentary I've ever seen and certainly the most visually beautiful.I admire Anna Wintour. I like that she's kept the same hair style since her teens--it's just right for her. I love the way she dresses; feminine, graceful, mostly soft print silks & handsome jackets. I love the way her face lights up and softens when she looks at her daughter. I like the colorful primitive pottery she seems to collect. I love the oriental rug in her office. I love her Golden Doodle dog.I don't wonder at her brusque detachment; a sweet empathetic soul would be eaten alive in that jealous back-stabbing industry.I adored honest, authentic, intelligent, sensitive, durable, tersely eloquent Grace Coddington: duck-footed in flat shoes, black sack dress, trademark wild red hair. The shots of Paris/London/Milan/Rome are the most gorgeous travelogue ever. There are so many marvelous things about the movie. The whole concept, the script, the pace, the film editing, the music, the glimpses into the mechanics of the business and the ordinary-to-surreal characters who people it.I'll watch it again and probably more than once, and that's the highest accolade I can give.

paul2001sw-1 The world of fashion is glamorous, absurd, and nowhere more so than at Vogue magazine, where legendary editor Anna Wintour rules with a famously frosty demeanour. 'The September Issue' follows the creation of Vogue's largest ever issue - which sounds as if it should be interesting, but which actually feels like a lost opportunity. There's no analysis of the finances or logic of fashion; no discussion of Vogue's rivals; or any attempt to debunk the myth of Wintour as ice-queen. Maybe this is because the myth is reality; but there's also a strong sense that director R. J. Cutler hasn't tried very hard, that he had his story before he started and was quite happy to shoot it deferentially. Wintour herself provides few real clues in some unrevealing interviews, and while she is plainly tough, she glides through an affluent world apparently insulated from anyone in whose interests it might be to answer her back, so it's a limited sort of toughness. Certainly Cutler doesn't challenge her; and his film, though watchable, ultimately has very little to say.

mukava991 In this documentary we follow Vogue editor Anna Wintour and her colleagues through their sleek Manhattan offices, beautifully appointed homes, European catwalks and design houses and photo shoots as they meticulously assemble the contents of the titular September issue that is supposed to be the most important of the year. After about a half an hour of chic fashionistas going through their paces (examining fabrics and photos, judging color schemes, sipping various liquids, gliding around big cities in chauffeured limos) it starts to get dull and repetitious and we can better appreciate the genius of the 2006 comedy The Devil Wears Prada which took the same basic set of people, heightened their personalities, spiced up their interrelationships, infused drama and plot into their routine professional activities and served up a sumptuously entertaining satire on the world of haute couture while also educating the general public about the nuts, bolts and economic and cultural role of that enterprise. There is far too much ennui and unoriginal glimpses behind the scenes which have been well covered in other documentaries and on countless televised celebrity magazine programs. Every once in a while there is a worthwhile insight, such as Wintour's description of the social atmosphere of London in the 1960s, a time of deep change, which formed her. She is certainly cool and reserved, but not the Ice Queen that Meryl Streep played in the fictionalized version. If anything, the point of this documentary would seem to be the humanization of Miss Wintour. By the time the fabled September issue starts rolling off the presses, all we can do is shrug.