Bridget Jones's Baby (2016)

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.

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.

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.

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.

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.

The review describes the comedy sequel as one that delivers. It singles out Zellweger’s heroine’s pregnancy and uncertainty about the father.

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.

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.

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.

The page could not be accessed, so the critic's verdict is unavailable. No specific praise or complaint can be verified.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.