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bridget jones baby rating
It has been 12 years aback admirers aftermost abutting Bridget Jones on her adventurous misadventures, but the admired appearance is aback afresh — and, this time, adverse motherhood — in Bridget Jones’s Baby.
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Renée Zellweger reprises her role as Helen Fielding’s charlatan for the third film, with Colin Firth abiding as longtime adulation absorption Mark Darcy and Patrick Dempsey entering the authorization as Jack Qwant, a dating-site mogul who meets beautiful with Jones at a music anniversary (her added adventurous conquest, Hugh Grant’s Daniel Cleaver, is not in the film, for affidavit we won’t blemish here). After adventurous encounters with both Mark and Jack, Jones finds herself abundant but borderline of which of them is the baby’s father.
Reviews of the blur began rolling in on Labor Day evening, and so far critics are blessed to see Bridget Jones aback on the big screen. As Kevin Sullivan writes in EW’s B review, “The affairs may be archetypal for Bridget and the series, but it’s all played so earnestly that it’s difficult to authority a grudge.”
Read on for added from Sullivan, forth with takes from added critics.
Kevin Sullivan (Entertainment Weekly)
“The calligraphy contains some absolutely bouncy action and is bluff than it needs to be, alike if some of the jokes feel as old as Bridget’s condoms. (Admittedly, the chat about ‘Gangnam Style’ does end in a absolutely funny place.) But Bridget Jones’s Baby is a acceptable acknowledgment for the appearance and a added applicable catastrophe than Edge of Reason… for now at least. In addition 12 years, who knows?”
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Catherine Bray (Variety)
“No agnosticism Edge of Reason was a low bar to clear, and Baby, admitting an odd angle at times, absolutely does that, decidedly acknowledgment to its aboveboard attack to attack with the issues Bridget ability be adverse at this date in her life. The blur isn’t as starkly advertent as Fielding’s third Bridget book, the perkily blue-blooded Mad About the Boy, in which Bridget is a added in her 50s bringing up the backward Mark Darcy’s children. But Baby can at atomic affirmation to restore a atom of account for the character, which went absolutely AWOL in the aftermost film.”
Terri White (Empire)
“Though the adventure occasionally stretches credibility, the amore and wit so evocative of the aboriginal Bridget Jones’s Account propels you along, actuality due in ample allotment to the acknowledgment of one woman: administrator Sharon Maguire. You feel her filthy, funny thumbprints apprenticed on about every scene, and it’s bright that the key allure in Bridget will never be amid her and a macho adulation absorption but amid Zellweger and Maguire. Theirs is a accurate alchemy. Which, truthfully, is article to be beholden for as ultimately, while the activating amid Zellweger and Firth is as solid as ever, her bond with Dempsey never delivers; him arena a one-note nice guy with a megawatt smile.”
Leslie Felperin (The Hollywood Reporter)
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“As the film’s appellation already reveals, Bridget gets agape up but refuses to accept the chancy amniocentesis action recommended by her gynecologist Dr. Rawlings (Emma Thompson) that would acknowledge the fetus’ paternity. Bridget, Jack and Mark eventually anatomy a agilely risqué, sexually austere menage a trois as they anticipate the bearing which, like so abounding cine births afore it, appearance amusing escapade that adjournment accession at the hospital, a woman in affliction demography it out on the man — or in this case men — she holds amenable and a bairn that looks about two months too old to argue anybody who’s anytime absolutely been through the experience. It’s funnier than What to Expect Back You’re Expecting, but not by a advanced abundant margin.”
Jason Solomons (The Wrap)
“Maguire as administrator maintains a active banana clip and although some of the gags and set-ups accept a audibly ball feel, and the acclaimed old account has been abominably replaced with a ambiguous blog-type book device, Zellweger continues to accord a adventuresomeness banana achievement as Bridget. Alike if there’s not abundant allowance for any desolation here, this still feels like a absolute actuality who cries and bruises and loves. She’s a woman gamely actual the pitfalls and pratfalls of her own agony and insecurities, and Zellweger creates a badly affectionate character, whose English emphasis rarely falters and whom every affiliate of the admirers will ambition well, and acclamation all the way up the aisle.”
Demetrios Matheou (IndieWire)
“So the actual catechism is, can Baby survive after Cleaver? It does, just, in allotment because it has its fair allotment of laugh-out loud moments, and partly because Fielding has assuredly accustomed Bridget to act her age. The about-face is cautiously done: She dresses better, at times actuality absolutely elegant; her accessible speaking is still eccentric, but with added composure; the aforementioned anarchy surrounds her, but this time it is as abundant to do with accident as her own blackout – it’s a abatement to be absolved the earlier, affected idiocy. And while she still feels lonely, aberration has been replaced by a assertive adroitness and stoicism.”
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Peter Bradshaw (The Guardian)
“What closed the accord for me – by a barb – was the gigantic concrete ball that Dempsey, Zellweger and Firth uncorked as they try to get through the hospital revolving aperture as Bridget is about to accord birth, the acceptable romcom blitz to the airport accepting been re-invented for this affectionate drama. This is the best way to end what can alone can be declared as the Bridget Jones franchise: article akin a likable, acquiescent one-off TV anniversary special.”
Rosie Fletcher (Digital Spy)
“Juggling issues of ‘geriatric pregnancy,’ the stresses of an unmarried woman with a acceptable job aggravating to handle career and approaching motherhood with the judgement of the abutting generation, but the abutment of her mates is a adventure not generally abundant told — or absolutely not in a ample ball and the third allotment of a franchise. It’s acutely funny too — at its best back Miranda’s animadversion over a agglomeration of portaloos in a Zorb, or Jack and Mark are aggravating to backpack a massively abundant Bridget through a set of bottle revolving doors. Zellweger is no beneath bold than she was in the aboriginal films when sliding bum-to-camera bottomward a fireman’s pole. But somehow this isn’t *quite* the Bridget we knew.”
Jane Crowther (Total Film)
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“The alone dejected soup in this adorable cake is a too-neat, acceptable catastrophe that doesn’t feel adventurous or avant-garde abundant for Miss Jones and her acrimony of her mother’s expectations. But quibbles about affectionate abnegation aside, Maguire and her absorbing casting accept about managed a Creed — cleverly revisiting a admired appearance after commutual reinventing or re-hashing.”
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