Bridget Jones babát vár

“You turn disasters into victories.” Bridget Jones’s Baby is a mostly successful attempt at making a tasteful romantic comedy for adult viewers that will make you forget the dreadful second Bridget Jones film while remembering the best of Working Title’s genre productions. However, the filmmakers try too hard to fulfil high expectations, which becomes apparent in the excessive runtime (and the resulting problems with pacing), and to play it safe (e.g. impressive but not very effective slow-motion shots and the autotelic inclusion of catchy pop songs). What we see is basically the third variation of the same story template, which is very predictable from start to finish despite the addition of a new unknown feature (the unborn child). Nevertheless, the film offers some surprises at least with small things like the generally believable behaviour of all of the main characters (Bridget finally acts in accordance with her age), who are able to reflect on their idiotic conduct (Jack apologises for lying to Mark). The incomprehension of today’s world of internet dating, photos of cats resembling Hitler, hipsters and Pussy Riot may not be as striking as in Marie Poledňáková’s films, but in places it is still painfully obvious that the filmmakers are stuck in a different era and are trying in vain to catch up with the times. What works best are the universal jokes on the topic of “men vs. women”, most of which co-screenwriter Emma Thompson stole for herself (a great line involving childbirth and a burning pub), that you will remember days after the screening. But you probably won’t remember much else. 70% (2016.09.16)

The unwelcome addition of a long-forgotten joke that turned into a confident surprise. It's obviously over the top in a few places, because Bridget can't do it any other way. But the rest? The moderate Renée Zellweger, the perfectly matured Colin Firth, and finally once again my beloved Patrick Dempsey just the way I like him, as the ideal guy with everything. This trio works even better than when it was Hugh Grant competing with Mr. Darcy, and that's saying something, considering the romantic-comedy merits of that British scamp. The last chapter of the adventures of the very crazy girl next door is romantic, touching, and in a few places unbelievably funny. I didn't expect this to be the best part of the series by any means, so I can now wish it even more success. (2016.09.20)

Fifteen years ago, I couldn’t stand Bridget Jones, but I feel that this part took the main character’s stupidity down by about fifty percent and the authors decided to direct the humor rather towards the individual scenes. And you know what? It’s been a long time since I had this good of a laugh and it’s also been a very long time since I saw a comedy that would be really funny and at the same time not vulgar at all. And if I have, it was borderline adequate. So completely OK. There was so much humor in this film that I will only probably absorb it once I watch the movie again on TV. So, I must admit that I didn’t feel like seeing this movie in the cinema, but in the end I really enjoyed it. Excellent British humor the likes of which I haven’t seen in a movie or TV show in a long time. (2016.10.10)

Bridget Jones's Diary was once an ideal representative of romantic comedy, which attracts couples to visit the movie theater, where she will be excited and he will not be offended at all. After a rather average and easily forgettable second installment, the third part returns to the quality level of the first film. The difference is that while the rivalry between two men for one woman was somewhat more believable in the first movie, here we are in the realm of romantic fiction of a dream factory. In real life, I would rather believe that the unhappy protagonist would be vainly persuading anyone to take on the role of the father, rather than encountering such interest in a paternal role. And the second handicap is the age of the main characters. Renée Zellweger attained her position in Hollywood as a relatively mature actress, and the roles of crazy teenagers passed her by. She portrayed the character of Bridget Jones for the first time as a thirty-something and after 15 years, during which she was also affected by unfortunate plastic surgeries, she looks more like she wouldn't have to worry about contraception at all. Colin Firth was 56 years old at the time of filming and he also looks his age. His natural dignified charm cannot be denied, but in general, he is more someone who should be preparing for the role of a grandfather and an active retiree, rather than setting up a nursery and playing dad. By the way, if I were to have the role of a film heroine, I would try to convince myself and my offspring that the father is Patrick Dempsey, even if it wasn't true because he is infinitely more likable than the cold and aristocratically aloof Colin Firth. The most likable character is indeed the small but noticeable role of Emma Thompson as the gynecologist. In any case, it's a decent 3-star film and I basically only have the above-mentioned reservations. In this relaxing genre, it doesn't make sense to focus on details. Overall impression: 60%. (2016.10.30)

I wanted to be harsh and give it one less star, but why? Because it's about something completely different than the book? So? The story was just as good, though not as believable. But then again, it didn't have as much farting, which is great. In short, this episode is also a treat for lovers of British humor, and Bridget Jones fans will at least get what they expected. And maybe even more. The soundtrack is also perfect, one hit after another. Traditionally, I didn't understand Bridget in the middle of the film and cursed her for her indecision, but she still won me over in the end. Because she's just plain old Bridget. 4.5 stars. (2016.09.16)