She revealed: “When you go away and you’re out of people’s consciousness, they stop noticing you”.
Though, the first sign that “Bridget Jones’s Baby” was going to be something different and far better than “The Edge of Reason” was the return of Sharon Maguire, the director of the original, iconic film, add a pinch of Emma Thompson in the screenplay and the return of most of the original cast (minus Hugh Grant) and we might have a victor.
Though the premise of “Bridget Jones’s Baby” makes it all seem like it’s all about the guy again, it’s never felt so much like Bridget’s story.
Renee Zellweger was nominated for an Academy Award for the 2001 original, this time around she’s older, now works as a television news producer, is still amusing and still celebrating birthdays alone. Right (again) than with Jones, thanks in large part to Renée Zellweger.
She discovers that she is pregnant following a one-night stand with Mark and a dalliance with Jack, however she is not sure who the father is. Sweet, slight and fitfully amusing, it’s a movie admirers of the earlier films should mildly enjoy, but cast in terms any new parent can understand, isn’t worth the price of a sitter.
Yet if Bridget’s sexual dry spell is over, her headaches have just begun. Instead of wallowing in the self-pity that opening scene suggests, she seizes the moment as an opportunity for rebranding: No more tragic spinster, Bridget’s now a mature sexpot.
When Jack finds out that he might be the father of Bridget’s baby, he’s overjoyed and insists on showering her with baby gifts and helping her through the labor process.
Let’s not kid ourselves, though; as amusing as this movie is, it’s equally as predictable.
Clearly, Bridget Jones’s Baby isn’t without its fair share of romantic comedy tropes, with the love triangle at the forefront being the most obvious, but what weirdly gives the film a particular edge is what can only be described as its cheekiness.
The verdict, in a Bridget Jones-ian nutshell: not v. good, but v. enjoyable. This concept is what makes “Bridget Jones’s Baby” movie amusing, witty and romantic as ever.
A 2004 sequel, Bridget Jones: The Edge of Reason, provided a poor answer, stranding Bridget in a Thai prison while letting Daniel and Mark revive their rivalry. In romantic comedies, it’s so hard to find characters that not only are relatable, but are realistic.
“It was great, I got to know my classmates really well”. Kate O’Flynn turns in a broad comic performance as Bridget’s hostile new boss, Alice Peabody, whose solution to everything is more cat videos.
The jokes reference beloved scenes from the first film, but it never feels like a re-hash of old material (they even manage to draw laughs from a dated reference to “Gangnam Style”).
Without ever being excessive, the movie takes wonderful advantage of the freedom that comes with skewing more towards adults – throwing around profanity and plenty of sexuality/innuendo for humor without being obscene or overly blue.