Directed by:
Sharon MaguireCinematography:
Andrew DunnComposer:
Craig ArmstrongCast:
Renée Zellweger, Colin Firth, Patrick Dempsey, Emma Thompson, Shirley Henderson, Sarah Solemani, Jim Broadbent, James Callis, Celia Imrie, Sally Phillips (more)VOD (4)
Plots(1)
After breaking up with Mark Darcy (Firth), Bridget Jones's (Zellweger) "happily ever after" hasn't quite gone according to plan. Fortysomething and single again, she decides to focus on her job as top news producer and surround herself with old friends and new. For once, Bridget has everything completely under control. What could possibly go wrong? Then her love life takes a turn and Bridget meets a dashing American named Jack (Dempsey), the suitor who is everything Mr. Darcy is not. In an unlikely twist she finds herself pregnant, but with one hitch...she can only be fifty percent sure of the identity of her baby's father. (Universal Pictures UK)
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Reviews (12)
Too bad about the first two episodes, because even together they are not as entertaining as this one, which is smart, mature, with effortless humour. Sharon Maguire serves up a film showing a main character that has matured over time, leaving behind infantile gags and lame jokes, as well as the bitterness about how she's old and fat, single, etc.; she’s know dealing with important life milestones. The male acting duo is a hit and forms an equal counterpart to the traditionally excellent Renée Zellweger, their bickering and interestingly set-up characters are exactly the spice this series needed. And the gap in years has done wonders. It doesn’t warrant a sequel, there’s nowhere to go, but as a worthy ending to a comedy film trilogy, it's great.
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I wanted to be harsh and give it one less star, but why? Because it's about something completely different than the book? So? The story was just as good, though not as believable. But then again, it didn't have as much farting, which is great. In short, this episode is also a treat for lovers of British humor, and Bridget Jones fans will at least get what they expected. And maybe even more. The soundtrack is also perfect, one hit after another. Traditionally, I didn't understand Bridget in the middle of the film and cursed her for her indecision, but she still won me over in the end. Because she's just plain old Bridget. 4.5 stars.
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“You turn disasters into victories.” Bridget Jones’s Baby is a mostly successful attempt at making a tasteful romantic comedy for adult viewers that will make you forget the dreadful second Bridget Jones film while remembering the best of Working Title’s genre productions. However, the filmmakers try too hard to fulfil high expectations, which becomes apparent in the excessive runtime (and the resulting problems with pacing), and to play it safe (e.g. impressive but not very effective slow-motion shots and the autotelic inclusion of catchy pop songs). What we see is basically the third variation of the same story template, which is very predictable from start to finish despite the addition of a new unknown feature (the unborn child). Nevertheless, the film offers some surprises at least with small things like the generally believable behaviour of all of the main characters (Bridget finally acts in accordance with her age), who are able to reflect on their idiotic conduct (Jack apologises for lying to Mark). The incomprehension of today’s world of internet dating, photos of cats resembling Hitler, hipsters and Pussy Riot may not be as striking as in Marie Poledňáková’s films, but in places it is still painfully obvious that the filmmakers are stuck in a different era and are trying in vain to catch up with the times. What works best are the universal jokes on the topic of “men vs. women”, most of which co-screenwriter Emma Thompson stole for herself (a great line involving childbirth and a burning pub), that you will remember days after the screening. But you probably won’t remember much else. 70%
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Yes, it's logical that Patrick Dempsey is kind of a stand-in for Hugh Grant, so why not follow through with that assumption? The problem with the trio is that Bridget's development doesn't make sense. Whatever happened to the tragic awkwardness of her struggle with excess weight, her bad habits, and her incapacity to work? The new Bridget is new and incredible, as is Renée Zellweger's new face. Colin Firth, though, is sad, tired, and lacking in energy. What I could imagine as entertainment in paper form, where the basic situation of "an impractical heroine suddenly dealing with fatherhood between two all-too-attractive men who don't suit her at all" is barely sketched out in a series of funny anecdotes, and it is rather boring in a two-hour film of the same stuff.
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Fifteen years ago, I couldn’t stand Bridget Jones, but I feel that this part took the main character’s stupidity down by about fifty percent and the authors decided to direct the humor rather towards the individual scenes. And you know what? It’s been a long time since I had this good of a laugh and it’s also been a very long time since I saw a comedy that would be really funny and at the same time not vulgar at all. And if I have, it was borderline adequate. So completely OK. There was so much humor in this film that I will only probably absorb it once I watch the movie again on TV. So, I must admit that I didn’t feel like seeing this movie in the cinema, but in the end I really enjoyed it. Excellent British humor the likes of which I haven’t seen in a movie or TV show in a long time.
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