Stephen Holden asked in his review, “Yet you have to
wonder: A decade and a half on, does Bridget still have a place in a popular
culture where the carbonated dreamland of romantic comedy is hardening into a
sexual battleground and the very notion of Prince Charming seems an
increasingly ludicrous anachronism?”
Holden continued, “Like the recent “Absolutely
Fabulous: The Movie,” or the film spinoffs of “Sex and the City,” “Bridget Jones’s
Baby” trades on nostalgia for the characters’ quaint misbehavior and silly
fantasies of yesteryear. Renee Zellweger, crinkly eyed and confident Bridget,
still chasing what she calls “happily ever after.” But the question nags: What
planet does she think he inhabits?” The London shown here might as well be
Planet C, as in cute.”
In this film, directed by Sharon Maguire, from a
screenplay by Helen Fielding, Dan Mazar, and Emma Thompson, Bridget is now a
successful producer of a cheesy television news show. On the broadcast, Bridget
is the newscaster, her friend Miranda, played by Sarah Solemani, text from the
sides.
In the beginning, Bridget celebrates her 43rd
birthday with a cupcake that only has a single candle as the song All by
Myself, which was in the first film, plays on the soundtrack. Holden
noted, “When the music abruptly segues to House of Pain’s “Jump Around,” a lip-syncing
Bridget leaps onto her bed and bounces up and down like a 7-year-old on a sugar
high.” However, Bridget has grown up in one significant way: Her fascination
with diet and weight loss has decreased, and finally she looks at peace with
her body.
Holden said, “What follows are a series of mildly
farcical misadventures that revolve around Bridget’s unexpected pregnancy after
dalliances with two dreamboats who appear as if summoned by a genie.” The most
unlikely, Jack, played by Patrick Dempsey, is of a dating website who pulls her
out of the mud at the Glastonbury music festival, which she attends with
Miranda and which the movie shows as a cheap, loud circus. The friends are so
clueless about contemporary music that they don’t recognize the
singer-songwriter Ed Sheeran when they ask him to take their picture.
Holden mentioned, “The other possible father is
Bridget’s old flame Mark Darcy (Colin Firth), who is so dour that when he
flashes a smile late in the movie you half expect a heavenly choir to erupt
with hosannas. Mr. Firth’s caricature of scowling British reserve masking a
tender heart is pitch perfect. Because Bridget is afraid to have the
amniocentesis procedure that would reveal the baby’s paternity, the rest of the
movie is a guessing game with no surprises.
When “Bridget Jones’s Diary,” the first novel in Helen
Felding’s series, was published in 1996 (the screen adaptation came five years
later), the term millennial had been conceived but not yet popularized. Holden
said, “The new movie acknowledges generational turnover by giving Bridget a
cold but kooky new boss (Kate O’Flynn) who spouts enigmatic gobbledygook in an
affectedly lowbrow accent.” However, it’s not enough to make “Bridget Jones’s
Baby” feel at all with today’s standards. Holden mentioned, “A welcome splash
of cold water is provided by Ms. Thompson in her sensible nanny mode, playing
Bridget’s unflappably severe gynecologist.”
Despite the amount of mostly warm jokes that keeps the
comedic tone at a quiet boil, “Bridget Jones’s Baby” doesn’t harden. Zellweger
goes through the film, charming but strangely disconnected from her men. When
she finally goes into labor, she is rushed to the hospital by Jack and Mark,
who carry her through the streets and brave the predictable obstacles – a traffic
jam and a demonstration. In the funniest absurd moment (not very), the three
are stuck in a revolving door at the hospital’s entrance.
Even though this may not be as good as the last films, it is still a good one to check out. This is currently streaming on Max, so if you have been a fan of the franchise, then you can see this one just fine. See it and give it a chance.
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