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Bridget Jones’s Baby Review (2016) | Sharon Maguire Revives Jones

What a sweet movie! Bridget Jones’s Baby, a sequel that picks up crumbs that were left off in the year 2004, finds its original director Sharon Maguire back in the chair again. She literally revives what was lost in the Edge of Reason, and brings to the vanguard another “hard to beat” actor Patrick Dempsey who is hands down perfect for Jones.


A lot has happened over the years, so we are told in fleeting frames. We come to know things haven’t gone well for Bridget reprised by Renee Zellweger yet again (who else?), when there is no one to celebrate her birthday with.

image of renee zellweger as bridget jones in bridget jones's baby movie

She is in her fortys, 43 to be precise, and clueless and lonely. She has an awesome company by the way – Miranda played by Sarah Solemani who is an absolute delight. Her clumsiness will make you feel good for Jones, at least she is in right hands.

The plot unfurls with the funeral of Daniel Cleaver (Hugh Grant) where she runs into Mark Darcy (Colin Firth) once again. Leaving the awkwardness behind, she tries moving on to celebrate her single life by attending a music fest with Miranda. That’s where she meets Jack played by Patrick Dempsey for the first time. She ends up having sex with him, and then on returning with Mark, when the fire in them blazes alive out of the blue.

The real conundrum begins when Bridget Jones finds out she is pregnant, and then is unsure of whose baby it is. The fact that both try to win her over with their impressive acts frame the basis of the story-line of Bridget Jones’s Baby.


Bridget Jones went back into safe hands when Sharon Maguire decided to helm it. Her direction is better than a lot of reckless directors out there. Editing just about right to make you bide by its actual rhythm. No sudden movements or chopping off frames at odd hours. It made Bridget Jones Baby a perfect hoot.

Movie capers on the smart wits of Helen Fielding, Dan Mazer and Emma Thompson, with the latter playing the role of Dr. Rawlings. The screenplay turns out to be fine, however mostly things stay pigeonholed under humour. There is probably once or twice when Bridget Jones Baby delivers thoughtful lines. Rest stays wrapped under blankets of comedy.


Right from the moment when the movie begins you can see Renee Zellweger put on a mask. The script demands her to act that way, I understand, but unfortunately you are able to see through every bit.

Right from the moment when she picks up the phone, to discern who the caller is, to the time she waddles down to attend that funeral, there is a constant channel of deception that clouds her face and you know that’s not really her or her character either. At such moments you perceive she overacts beyond limit, as if the world is all cuddly and swishy.

still of Jack and Mark carrying Bridget Jones Baby movie by Sharon Maguire

Also, given the theme of the movie, Bridget Jones Baby forever stays in shallow waters of melodrama. It doesn’t get or let you be serious at any time. You don’t feel sorry for the characters since you know they are going to be around. It isn’t at all reflective of real life.

Apart from that Bridget Jones’s Baby works just fine. It remains smart, witty and fun almost all the time. Even with the butt jokes and all the clumsiness it stays well above the carpet of entertainment.

You can preorder Bridget Jones’s Baby here:


Bridget Jones’s Baby has surprisingly good humour and has been written with the right wits, which help it dally towards the finish line. Patrick Dempsey is an outright charmer as Jack and a very tough competition for Darcy. You will realize that when you go watch Bridget Jones Baby yourself. Go go go!

Here you can check out its trailer here:

The Man from U.N.C.L.E. Review (2015)

The first thing that you feel when you watch The Man from UNCLE is its rad score. So brilliant that you can’t take your ears off it! It gives you a constant pleasure and reminds you of how a movie can be made into a complete package by doing every little part justice it deserves. Then comes the humour quotient of The Man from UNCLE which is strewn all across 2 hours of a badass plot. The rhythmic ups and downs of the spy storyline blended brilliantly by some top-notch Ritchie humour and some exceptional acting by the stellar cast are some of the things that make it thoroughly entertaining.

Henry Cavill nails this movie by donning an exceptionally cool demeanor and gives Solo a gorgeous primping, quite James Bond-ish and we are talking Pierce here. His style is swift. His moves are written in elegance and he doesn’t, at any point, lose it. On the other hand, we have Armie Hammer, another protagonist who just can’t control his temper. He does a great job as Illya, and wears the Russian accent quite nicely. Alicia Vikander slithers her way like a pro into her Gaby character. She is charming and adorable.

There is a constant cold war that reeks of dislike that goes on between the two spies that makes this movie constantly hilarious. It is great to see them pull each other’s legs every now and then. There is a subtlety in the humour which makes it a complete laughter riot.

The technology, since it was a period movie, brings out the best the two big superpowers had back then. They exploit it well too, and make you wonder how oblivious we are to the little stepping stones that our past paved for us.

There are moments where Guy Ritchie loses his subtlety when he keeps showing flashbacks to prove his point. I think the public is smart enough to understand, and we could have lived without those evident explanations. Also, if we stand back and look at it from a distance, there is very limited action that mostly gets lost owing to Ritchie’s banner like frames that keeps chipping the screen to depict different vantage.

Other than that The Man from U.N.C.L.E. is a complete adventurous and humorous package. We have an excellent franchise in the making. Giving you a heads up for an impending badass series!