‘Bridget Jones’s Baby’ review: “Utterly hilarious”

Bridget Jones’s Baby review: A comedy that pushes viewers to accept the perfectly imperfect.

Bridget Jones’s Baby review, Matthew Ceo for The Hollywood News.

As the curtains part, and the opening credits start to roll, the few and rather low expectations that curdled in the minds of many hesitant Bridget Jones fans quickly disappeared to the evocative lyrics of ‘Jump Around’ by House of Pain. Off the bat, let’s just state that the three-quel sees the return of Sharon Maguire, with her leading lady, Renée Zellweger, in an unexpectedly satisfying rom-com that challenges the original for its crown as best of the franchise. The problem that so many people have with unnecessary sequels is that they often lack substance, value, or progression – typically leading to a lack of resolution and a feeling of betrayal for those following the series.

To be clear, Bridget Jones’s Baby is utterly hilarious, and contributes to all of these things. It’s success in doing so, among other things, is likely due to the delightful writing of Emma Thompson, Dan Mazer and Helen Fielding, author of the bestselling book. Despite any concerns fans of the series may have, they won’t have to worry though, as Bridget Jones’s Baby somehow manages to feel fresh, contemporary, entirely socially relevant and genuinely sincere as we watch the next chapter of Bridget’s life unfold.

Since the original hit our screens fifteen years ago, Bridget Jones has become a likeable, charmingly awkward character that has permeated the crux of the last decade’s popular culture. But Bridget Jones is more than that. Since day one, Bridget Jones has always been entirely relatable, from her poor choice of Christmas jumper, the calorie-counting, to the disarmingly real reflections of self-worth and body-positivity that her character explores. Bridget Jones’s Baby continues this tradition, never disrespecting the difficulties that Jones, or womankind face on a daily basis that in the end, lead to several instances of side-splitting slapstick, a few more touching moments, and a well-needed dose of bonking.

Though of course, these events only unfold due to the magnificent supporting cast. Sarah Solemani feels somewhat of a breakout star in this one, who (of Bad Education fame) plays Miranda, Bridget’s friend and enforcer of sexual liberation who takes her to a music festival all in an attempt to get (successfully!) laid. It’s here that Hugh Grant stand-in, Patrick Dempsey, makes his debut as Jack Qwant, who –though charming – lacks the British bad-boyisms and wit of his spiritual predecessor. Between him and the return of Colin Firth, and stomach-clenching hilarity involving a revolving hospital door, a positively excellent score, and the tear-inducing return of Gemma Jones and Jim Broadbent as Bridget’s parents, viewers are in for a hell of a treat.

Whilst the genre can sometimes descend into states of enviable fantasy with extremely romanticised views of love and sex, the attraction to Bridget Jones, and by extension, Maguire’s second contribution to the franchise, sees very serious topics being addressed. In a world where it’s difficult to find meaning and purpose, Bridget Jones’s Baby illustrates circumstances, especially for the new-age woman, in which hard decisions are entirely justified and are practiced without persecution. Maguire explores the controversial idea of workplace irrelevance, especially for middle-age women with tact and grace incorporating it succinctly into a narrative that is respectful to the genre, franchise, and the conversation it’s contributing to.

Above all else, it’s interesting to see a rom-com explore the concept of sexual liberation and reclamation in a way that subtly undermines the social stigmatisation of taking control of one’s own sexual identity – slut shaming, and holds its hand as it guides it towards happiness via motherhood. It’s absolutely a comedy that pushes viewers to accept the perfectly imperfect and to encourage self-efficacy, and as such will surely make a serious impact in yet another generation of young women.

Bridget Jones’s Baby review by Matthew Ceo, London, September 2016.

Bridget Jones’s Baby is released in UK cinemas on Friday 16th September, 2016.