Bridget Jones births a likable threequel
Brian
Truitt | Usa Today – September 15, 2016
Not only
is there an important birth in Bridget
Jones’s Baby but the new film also marks a rebirth for Renée
Zellweger.
The actress proves she’s back in a big way playing the long-suffering
British singleton for a third time in the romantic comedy (*** out of four
stars; rated R; in theaters Friday). It draws from Helen Fielding’s
columns for England’s The
Independent newspaper rather than her Bridget novels. And while it
unabashedly leans into its chick-flick nature, returning director Sharon
Maguire — who helmed 2001’s franchise-starter Bridget
Jones’s Diary — manages to craft the strongest and funniest film
of the series.
This time around, Bridget’s a little less All
By Myself and a touch more Jump
Around: She’s lean and mean at an acceptable fighting weight and
loving her job as a British news producer. But as she turns 43, she finds
herself stuck between mommy pals and 30-something party-hard work friends.
During a jaunt to a rowdy music festival with her news-anchor bestie
(Sarah Solemani), she literally falls into the bed of rich, fun-loving
American dating-site mogul Jack Qwant (Patrick Dempsey). A few days later,
Bridget reconnects — in more ways than one — with her old beau, the
impossibly stiff lawyer Mark Darcy (Colin Firth).
Some weeks later, she discovers why she’s having trouble fitting into
her skinny jeans: Bridget is preggers thanks to a box of expired condoms.
Because of the timing, it could be either Jack or Mark's baby.
The character is up to her usual shenanigans — not telling the whole
truth about her pregnancy to family members (and the two possible dads
trying to out-macho each other) — and yet Bridget feels fully fleshed
out for the first time in Baby.
She’s considered a “geriatric” mother by her hilariously deadpan
OB/GYN (a sensational Emma Thompson). Still, Bridget proves capable of
taking on motherhood while figuring out her romantic situation, not to
mention dealing with the hipsters at her job trying to replace good
journalism with cats that look like Hitler. It’s a well-done workplace
conflict that adds modern relevance to the frothy rom-com atmosphere.
Bridget Jones’s Baby can’t escape its inherent tropes: Girl-power vibes are abundant though
not overpowering, and the soundtrack is filled with feel-good pop (fans of
Ed Sheeran will enjoy his entertaining cameo). What differentiates it,
however, from Sex and the City
or most anything you’d see on Bravo
is how it ignores snark in favor of a goofy, infectious sweetness.
Dempsey brings a healthy amount of charm to his debonair American, and
Firth showcases his wealth of talent as the endlessly repressed Darcy.
(Hugh Grant sits this one out, but his Daniel Cleaver is still felt in a
couple of scenes.) As much as the guys pull their weight, this is really
Zellweger’s show, and she owns every bit of it.
She hasn’t been seen much the past few years — her last major role was
2009’s New in Town and it’s been more than a decade since the
disappointing Bridget Jones: The
Edge of Reason. This third film lets Zellweger exhibit her charming
effervescence (with a newfound maturity) and prove she's still a bankable
star. In other words, Baby,
she’s still got it.
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