BRIDGET JONES’S BABY REVIEWED
“Bridget Jones’s Baby” concludes the first modern film trilogy directed entirely by women. Facts like these are what people share when they’re trying to cover up the shortcomings of a “good enough” movie. Realizing that the first movie was a fluke that worked more off the strength of Fielding’s original novel, the truth behind the Bridget Jones trilogy is out there. Bridget worked as a one and done.
The one and done philosophy extends to the character herself and the choices behind her sudden family way. Independent women with multiple paternal suitors isn’t a new concept. Hell, the film treats it as an after thought in Bridget’s never-ending quest for love. What was once cute in her 20s and 30s now feels sad. Given the battles over the film’s original ending, I’m glad that they chose to go with what makes sense inside of this giant female fantasy.
The grand takeaway for the film’s appeal is that it’s cute when you’re young, but a bit much when you’re older. As the shallow debate Zellweger’s face changes, the insightful will notice things far more darker about the trilogy’s narrative. Women lose options as they age. Sure, things work out for Bridget, but it took a lot to get there. Geez, this is the most depressing Virginia Slims commercial ever.
- 2 hrs and 2 mins
RELEASE DATE: 9/16/16
- Film Score - 81%81%
The Plot Thus Far
Bridget’s focus on single life and her career is interrupted when she finds herself pregnant, but with one hitch … she can only be fifty percent sure of the identity of her baby’s father.