---
title: "Bridget Jones's Baby"
year: 2016
kind: "film"
canonical: "https://film.one/film/bridget-joness-baby"
fi1m_id: "bridget-joness-baby"
imdb_id: "tt1473832"
tmdb_id: 95610
wikidata_id: "Q11909982"
fi1m_score: 71
critics_score: 63
critics_reviews: 24
published: "2026-10-05T14:10:20.810121+00:00"
updated: "2026-10-05T14:10:21.858901+00:00"
region: "NZ"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Bridget Jones's Baby (2016)

Directed by Sharon Maguire · 2h 03m · Drama, Comedy, Romance

## Identity

Bridget Jones's Baby

- **Canonical:** https://film.one/film/bridget-joness-baby
- **Type:** Film
- **Fi1m ID:** bridget-joness-baby
- **IMDb ID:** tt1473832
- **TMDB ID:** 95610
- **Wikidata ID:** Q11909982
- **Same entity:** https://www.imdb.com/title/tt1473832/, https://www.themoviedb.org/movie/95610, https://www.wikidata.org/wiki/Q11909982

**Fi1m score: 71** · Critics 63 from 24 reviews

*In a sentence:* Two possible fathers, and we would still rather spend the evening with Emma Thompson

> *Bridget Jones’s Baby* is a funny, affectionate romantic comedy stretched beyond its story’s needs. Renée Zellweger and Emma Thompson make it worth the extra patience, though the two-man dilemma grows repetitive.

## Synopsis

Bridget (Renée Zellweger) is more comfortable with herself, but her love life remains unsettled. When she becomes pregnant, she cannot be sure who the father is: Mark (Colin Firth) and Jack (Patrick Dempsey) are both possibilities. She wants to work out what motherhood will mean for her while sorting out where each man belongs in her life. Her journalism career brings its own complications, including mishaps on live news, as she tries to manage a pregnancy without a clear answer about paternity.

## Review

Sharon Maguire’s *Bridget Jones’s Baby* gets the important thing right: Bridget remains someone whose company we enjoy. The pregnancy and uncertain paternity supply enough complications for a romantic comedy, though not quite enough for 123 minutes. We recommend it to anyone who likes the genre and can forgive a familiar story taking its time. Its chief pleasure is watching Renée Zellweger play a woman who has become more at ease with herself without becoming immune to embarrassment.

That change matters. Renée Zellweger allows Bridget some confidence, which makes the vulnerable moments easier to believe; she no longer seems to need our reassurance before every laugh. The live-news mishaps still put her professional dignity at risk, and the timing makes them funny even when the writing appears too eager to humiliate her. We laughed, then wished the film would give her working life a little more respect. The comedy is good enough to survive without quite so much embarrassment being piled on the same woman.

Colin Firth gives Mark enough feeling to make his comic timing count for something beyond the next joke. We can believe that these people matter to each other, even while the screenplay arranges another complication between them. Patrick Dempsey is less fortunate as Jack: the part supplies a romantic alternative without offering him equally interesting things to play. He does what he can, but the imbalance makes the uncertainty about the father less rewarding as an extended source of romantic suspense.

Emma Thompson gets more out of less as Dr Rawlings. Her restrained delivery lets a joke register without the film having to stop and admire it, and we were grateful for that calm whenever the surrounding business became busy. She also shares the screenplay credit with Helen Fielding and Dan Mazer; there is no need to guess which writer supplied which laugh. Sarah Solemani brings welcome comic assurance to Miranda, helping an ensemble that can make familiar material seem freshly amusing.

Andrew Dunn’s cinematography and John Paul Kelly’s production design give Bridget a comfortable-looking world, perhaps a little too comfortable for the film’s attempts to keep her recognisably ordinary. The polish makes some of the mishaps feel safely arranged. Craig Armstrong’s music has to share attention with a persistent procession of pop songs, whose eagerness to establish a mood grows tiring. The performers generally tell us enough about how a scene feels without another song helping.

Melanie Oliver’s editing serves the individual comic exchanges better than the longer romantic business. Once the central dilemma is established, there is too much time spent sustaining it, and the script seldom makes repetition feel like a new development. Even by the forgiving standards of a romantic comedy, the uncertainty becomes hard to sustain when one prospective partner has so much less to do. A shorter running time would have helped the jokes as well as the romance.

Still, Sharon Maguire gives her cast room to be likeable without asking us to applaud every imperfection. The affection for Bridget is persuasive, and Renée Zellweger makes her increasing self-acceptance worth returning to. For an evening of romantic comedy, the cast is worth a little patience.

*Fi1m score 71, published 5 October 2026.*

## What the critics say

The reviews lean towards a qualified welcome for Bridget Jones’s Baby, with praise clustering around Renée Zellweger’s warmth, vulnerability and comic timing. Many critics find that a more mature, comfortable Bridget gives the sequel a reason to exist beyond familiarity. Emma Thompson’s performance is another recurring pleasure, while several reviews credit the ensemble and physical comedy with keeping the laughs coming despite a thin story. Even some sceptical notices find the leads worth watching.

The spread is wide, however, from enthusiastic approval to outright disappointment. Reservations centre on the stretched plot, familiar romantic-comedy conventions and uneven characterisation. Critics also disagree about Bridget herself: some welcome her growth, while Digital Spy argues that she has become aspirational rather than relatable. The Evening Standard notably faults Zellweger while praising Colin Firth. At the harsher end, Slant Magazine objects to the shallow romantic setup and relentless pop songs.

## Straight answers

**Is Bridget Jones's Baby worth watching?**

*Bridget Jones's Baby* is worth watching for romantic-comedy fans who can forgive some repetition, and we score it 71 out of 100. Renée Zellweger makes Bridget warm and believable, while Emma Thompson supplies welcome dry humour. The uncertain-paternity story stretches too thin across 123 minutes, but we find the cast worth the patience.

**How long is Bridget Jones's Baby, and what is it rated?**

*Bridget Jones's Baby* runs 2h 03m. It is a drama and comedy film.

**Where can I watch Bridget Jones's Baby in New Zealand?**

*Bridget Jones's Baby* is streaming on Amazon Prime Video in New Zealand, and it is also available to rent from Amazon Prime Video from NZ$5.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Bridget Jones's Baby, and is it suitable for children?**

*Bridget Jones's Baby* carries a UK 15 certificate, so it is not suitable for children under 15. The classification signals adult material; the pregnancy and uncertain-paternity premise also points towards an older audience. Our review discusses embarrassment and romantic complications rather than violence or scares, but does not establish specific content warnings for either.

**How does Bridget Jones's Baby compare to The Lunchbox?**

*Bridget Jones's Baby* is the better choice for broad laughs and affectionate ensemble comedy; [*The Lunchbox*](https://film.one/film/the-lunchbox) better suits an evening of quiet romance. We enjoy Zellweger and Thompson despite the repetitive romantic dilemma, while Irrfan Khan's restraint makes *The Lunchbox* tender and persuasive. Neither entirely escapes overcareful handling: Bridget's story runs long, and the quieter film sometimes holds back too much.

### Reviews we read (24)

- **Empire**, Terri White (85/100, inferred): The review finds the film warm, witty and more than a match for the original, despite occasional credibility gaps. It especially praises the chemistry between Renée Zellweger and returning director Sharon Maguire, and Emma Thompson’s scene-stealing performance. [Read](https://www.empireonline.com/movies/reviews/bridget-jones-baby-review/)
- **Los Angeles Times**, Katie Walsh (85/100, inferred): Walsh finds the third installment warmly satisfying and says Bridget’s growth makes it feel current rather than recycled. She particularly praises Renée Zellweger’s charming performance and the film’s embrace of Bridget as desirable and comfortable in her own skin. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-bridget-jones-baby-review-20160913-snap-story.html)
- **Little White Lies**, Adam Woodward (3/4/3): The critic finds the sequel agreeably optimistic, faithful to its characters and very funny, though conventional. He praises Bridget’s relatable acceptance of her flaws and consistency over time. [Read](https://lwlies.com/reviews/bridget-joness-baby)
- **Time Out**, Cath Clarke (4/5): The review says the third film is genuinely funny and benefits from a more content, wiser Bridget. It singles out Renée Zellweger’s return as part of what makes this installment work. [Read](https://www.timeout.com/movies/bridget-joness-baby)
- **Total Film**, Jane Crowther (4/5): Crowther finds it a warm, witty and welcome return that updates Bridget without losing her appeal. She especially praises Emma Thompson’s script polish and the film’s sharp, relevant comedy, though she faults its overly traditional ending. [Read](https://www.gamesradar.com/bridget-joness-baby-review/)
- **Radio Times**, Stella Papamichael (70/100, inferred): The review describes the comedy sequel as one that delivers. It singles out Zellweger’s heroine’s pregnancy and uncertainty about the father. [Read](https://www.radiotimes.com/movies/bridget-joness-baby-review-a-bundle-of-joy/)
- **Evening Standard**, Charlotte O'Sullivan (65/100, inferred): O’Sullivan finds the film uneven and faults Zellweger’s performance, but ultimately says it is worth seeing. She especially praises Colin Firth’s heartfelt comic turn, with Emma Thompson and Sarah Solemani also singled out for strong performances. [Read](https://www.standard.co.uk/culture/film/bridget-joness-baby-film-review-colin-firths-star-turn-helps-this-bodged-bridget-snatch-victory-from-the-jaws-of-defeat-a3346366.html)
- **Variety**, Catherine Bray (65/100, inferred): Bray finds the film a likable, sincere improvement on the second installment, though it falls short of the original and is not a comedy for the ages. She praises Renée Zellweger’s warm, vulnerable performance and Emma Thompson’s restrained comic delivery. [Read](https://variety.com/2016/film/reviews/bridget-jones-baby-review-renee-zellweger-1201848899/)
- **Screen Daily**, Fionnuala Halligan (64/100, inferred): The page identifies this as a review, but the review text is behind a paywall. Its verdict and any specifically praised or criticized element cannot be determined from the accessible text. [Read](https://www.screendaily.com/reviews/bridget-joness-baby-review/5109080.article)
- **The New York Times** (64/100, inferred): The page could not be accessed, so the critic's verdict is unavailable. No specific praise or complaint can be verified. [Read](https://www.nytimes.com/2016/09/16/movies/review-renee-zellweger-bridget-joness-baby.html)
- **The Guardian**, Peter Bradshaw (3/5): Bradshaw finds the film a solid, satisfying comeback and a better outing than its predecessor. He singles out the hospital revolving-door slapstick for its large-scale physical comedy. [Read](https://www.theguardian.com/film/2016/sep/05/bridget-joness-baby-review-reborn-renee-zellweger-excels-in-fun-romp-heavy-with-expectation)
- **IndieWire**, Demetrios Matheou (C): Matheou finds the sequel passable but weighed down by a thin, stretched plot and familiar rom-com tropes. He praises Renée Zellweger for making Bridget’s more mature characterization feel believable while preserving her quirks and sweetness. [Read](https://www.indiewire.com/features/general/bridget-joness-baby-review-renee-zellweger-1201723336/)
- **Vulture**, David Edelstein (55/100, inferred): Edelstein finds the film patchy but surprisingly funny, an entertaining and uneven return to the series. He praises Renée Zellweger’s performance and the heroine’s grounded, chaotic character, while finding the mix of feminist and screwball-sitcom ideas hard to parse. [Read](https://www.vulture.com/2016/09/review-bridget-joness-baby.html)
- **The Hollywood Reporter**, Leslie Felperin (35/100, inferred): Felperin finds the film more entertaining than a disastrous reboot but ultimately emotionally hollow and disappointing. She singles out Emma Thompson’s comic timing and performance as a particular delight. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/bridget-joness-baby-film-review-925792/)
- **Slant Magazine**, Eric Henderson (1/4): Henderson gives the film a sharply negative review, finding its romantic setup shallow and repetitive. He particularly faults the relentless pop-song needle-drops, which he says make the film feel like a playlist rather than a movie. [Read](https://www.slantmagazine.com/film/bridget-joness-baby/)
- **The New Yorker**, Anthony Lane (25/100, inferred): Lane finds the film increasingly embarrassing and complains that it treats Bridget’s journalism career with disdain. He praises Colin Firth’s comic timing, which helps rescue laughs from stale scenes. [Read](https://www.newyorker.com/magazine/2016/09/26/eight-days-a-week-and-bridget-jones-baby)
- **The Ringer**, Amanda Dobbins (90/100, inferred): Dobbins calls the film a delight and argues that romantic comedies deserve more sequels like it. She praises its charm and romantic set pieces, while criticizing the unexplained changes to Bridget’s life and appearance. [Read](https://www.theringer.com/2016/09/16/movies/bridget-jones-baby-sequels-aea62b43b9a)
- **The Wrap** (82/100, inferred): The critic finds the sequel lively and funny, and says Zellweger makes Bridget a hugely sympathetic character. They single out her bravura comic performance and the well-timed live-news mishaps for praise. [Read](https://www.thewrap.com/bridget-jones-baby-review-renee-zellweger-delivers/)
- **HeyUGuys**, Em Breen (80/100, inferred): The review is warmly positive, finding the film charming and Bridget’s return a joy. It especially praises Renée Zellweger’s infectious performance and physical comedy, while noting the film’s lack of diversity as a reservation. [Read](https://www.heyuguys.com/bridget-joness-baby-review/)
- **Consequence**, Allison Shoemaker (67/100, inferred): Shoemaker finds the familiar romcom more enjoyable than its stale conventions suggest, though it is not exceptional. She especially praises Renée Zellweger’s vulnerable, charming performance, which gives the material depth. [Read](https://consequence.net/2016/09/film-review-bridget-joness-baby/)
- **Eye for Film**, Anne-Katrin Titze (65/100, inferred): Titze finds the film charming and forgiving, though parts become tedious and its supporting characters often feel like caricatures. She praises Zellweger’s impeccable comic timing and the sincere chemistry between the leads. [Read](https://www.eyeforfilm.co.uk/review/bridget-joness-baby-2016-film-review-by-anne-katrin-titze)
- **Den of Geek**, Simon Brew (3/5): Brew finds the film a funny, welcome improvement that succeeds despite its familiar, thin plot. He praises Zellweger’s return and the ensemble’s comic timing, while noting Patrick Dempsey is short-changed. [Read](https://www.denofgeek.com/movies/bridget-jones-s-baby-review/)
- **Digital Spy**, Rosie Fletcher (50/100, inferred): Fletcher finds the film packed with laughs and worthwhile in its handling of motherhood, but says it no longer feels like the Bridget audiences knew. She praises its female perspective and the comic performances, while lamenting that Bridget has become aspirational rather than relatable. [Read](https://www.digitalspy.com/movies/a806983/bridget-jones-baby-review/)
- **Paste**, Jim Hemphill (3.5/10): Hemphill finds the film a sloppy, overlong romantic comedy made watchable by its leads. He praises Renée Zellweger’s winning performance and Bridget’s happiness at the ending, despite the film’s weak craft and underdeveloped story. [Read](https://www.pastemagazine.com/movies/bridget-joness-baby/bridget-joness-baby)

## Details

- **Director:** Sharon Maguire
- **Director:** Sharon Maguire
- **Screenplay:** Helen Fielding, Dan Mazer, Emma Thompson
- **Cinematography:** Andrew Dunn
- **Editor:** Melanie Oliver
- **Music:** Craig Armstrong
- **Production design:** John Paul Kelly
- **Producer:** Eric Fellner, Tim Bevan, Debra Hayward
- **Cast:** Renée Zellweger as Bridget; Colin Firth as Mark; Patrick Dempsey as Jack; Jim Broadbent as Dad; Gemma Jones as Mum; Emma Thompson as Dr Rawlings; Sally Phillips as Shazzer; James Callis as Tom
- **Runtime:** 2h 03m
- **First release (the UK):** 5 September 2016
- **Genres:** Drama, Comedy, Romance
- **Budget:** $35 million
- **Box office:** $212 million
- **Trailer:** https://www.youtube.com/watch?v=5aaWY7rQS3I

## Where to watch in New Zealand

- Amazon Prime Video: streaming
- Amazon Prime Video: add-on
- Amazon Prime Video: rent NZ$5.99, hd
- Amazon Prime Video: buy NZ$14.99, hd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PL, PT, RO, RS, SE, SI, SK, TR, UA, US, VN. Add `?region=XX` to this URL for another country.

## Awards

- European Film Award – People's Choice Award for Best European Film 2017: European Film Award – People's Choice Award for Best European Film (nominated)

## If you liked this

- *Enough Said* (2013): Adult embarrassment and romantic nerves, handled by performers who know when to pause.
- *Baby Boom* (1987): Another working woman’s plans are disrupted by motherhood, with room for practical complications.
- *Man Up* (2015): British romantic confusion, helped along by two leads worth spending an evening with.
- *The Lunchbox* (2013), Fi1m 75: A quieter romance about the possibility of changing a life that seems settled. — [Fi1m page](https://film.one/film/the-lunchbox.md)
- *I'm Your Man* (2021): An unusual suitor tests a woman’s ideas about what she actually wants.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/bridget-joness-baby