'Bridget Jones's Baby': A Bundle of Joy, Delivering Constant Laughs, Causing Only Minor Upset

Bridget Jones (Renée Zellweger) and doctor (Emma Thompson). Photos by Giles Keyte for Universal Pictures.

BY VW

IT is no surprise to fans of the Helen Fielding book and film franchise that Bridget Jones would find herself in a state of pregnancy and have difficulty placing the father.

This is precisely the pickle in which the heroine and title character (Renée Zellweger) finds herself in "Bridget Jones's Baby." The film - which is based on columns that HF wrote for The Independent, rather than the book - opens today in the United States and the United Kingdom.

The good news is that the father can be narrowed down to two men. After all, Bridget isn't slutty, she's nutty. One has to be a nutser to have a potential father booked on the national news show that she produces to ascertain answers. Or leaves her handbag in an ATM station, presumably containing her ID. Sorry, being fired earlier that day is hardly a mitigating factor.

In any case, the potential daddys are ex, Mark Darcy (Colin Firth reprising the role of the buttoned-up barrister), and American dating ap millionaire Jack Qwant (Patrick Dempsey). It should be noted that Jack is far more compatible with Bridget than is Mark. And he is crazy about her; Mark, of course, simply thinks she's crazy.

The exquisite joy in watching "Bridget Jones's Baby" - and it is fun with laughs galore - is derived from three major plotlines:

Bridget Jones (Renée Zellweger) and new man (Patrick Dempsey).

1. Sitting on the edge of your seat as the moment draws ever closer when Bridget must confess to the two men. Each is in raptures over the prospect of fatherhood. Each is wholly unprepared that soon the day will dawn when Bridget will disclose to him that she is 100 percent certain that he has a 50 percent chance of being the father of her baby;

2. Witnessing dear, dear Bridget being adored and cosseted by two handsome men, simultaneously. A new experience, to be sure;

3. The two vying to be the most supportive father-to-be. Do note that a super juice almost always trumps an iced tea. Hilarity ensues; abounds.

Bridget Jones (Renée Zellweger) and mother (Gemma Jones).

Indeed, it does: The scene in the initial lamaze class where there is no box for this trio until Bridget acquieses to one. During a campaign party (It's a rainbow coalition.) at the home of her parents after the conversion of Bridget's minor politician mother (Gemma Jones).

Arguably, the film's funniest scene is the one in which the scandalized reactions of the bartender at Bridget and Mark's favorite Italian restaurant grow in proportion to each revelation Bridget makes to Mark and Jack around her faux pas. It is the stuff of a comedy master class ...


Bridget Jones (Renée Zellweger) and colleague (Sarah Solemani).

Any scene with Emma Thompson is certain to create laughs and guffaws. Like PD, she is a welcome newcomer to the franchise. Owing to myriad productions problems (creative differences), ET also shares a screenwriter credit with HF and Dan Mazer. The aforesaid production kerfuffles largely account for the 12-year gap between the second and this third "Bridget Jones" film ...

Naturally, the baby chooses to come at a most inopportune time, triggering yet more hilarity en route to the hospital.

Laughs aside, "Bridget Jones's Baby" isnt a perfect film.The delivery room scene is among the weakest of the film, hackneyed from start to finish.

Bridget Jones (Renée Zellweger) and the fathers (Colin Firth and Patrick Dempsey).

The ending is a bit of a disappointment. One expects some nuance. It is sure to be polarizing.

"Bridget Jones's Baby" is an easily digestible film, however. A dozen years later, the recurring characters are as comfortable as a favorite pair of old shoes. They are on auto pilot, especially RZ whose Bridget has lost not one whit of her wistfulness. The Bridget Jones cast is now like family. (Alas, Hugh Grant was a casualty of productiongate). We love them, warts and all.

Just as we do "Bridget Jones's Baby."

"Bridget Jones's Baby" is rated R for language, sex references and some nudity. Visit http:// www.bridgetjonesmovie.com/ to learn more about this film.

NYFF 51 Day 3: 'Le Week-End' Almost Sinks a Marriage

HEAD’S UP: The 51st New York Film Festival is off to the races, and so are we. This year, we borrow a page from Mercedes-Benz Fashion Week New York coverage, which borrowed a page from Twitter (http://www.ow.ly/pmqvr). To that end, all film reviews / comments will be 100 words or less. Yes, 100. Or less. Ready? Lights. Camera. ACTION! ...

IN Roger Michell’s “Le Week-End,” a British couple journeys to Paris to celebrate 30 years of marriage.

Enter Meg (the illustrious Lindsay Duncan who also appears in “About Time,” which has its North American premiere at The 51st New York Film Festival) and Nick (Jim Broadbent.)

They spend the weekend bickering about nothing to the point of a breech, forcing circumstances to intervene in a most delightful way. Minutiae-heavy “Le Week-End,” in its U.S. premiere today, teeters toward boring but is saved by energy-bearing Jeff Goldblum as a colleague of university professor, Nick.

Here’s a one for folks over 50.

Visit http://www.filmlinc.com/nyff2013 to learn more about The 51st New York Film Festival, including tickets and showtimes.

In ‘Cloud Atlas,’ What One Does Today Lives On ...

“CLOUD Atlas” will likely go down as one of the year’s most provocative, misunderstood and critically acclaimed films. It reportedly received a 10-minute standing ovation after its world premiere at the Toronto International Film Festival last month.

The sprawling work, with three directors and a big-name cast headed by Halle Berry and Tom Hanks, opens in North America today. (See video above.)

Some critics love it with all capital letters and bold type. Others have called “Cloud Atlas, ” directed by Tom Tykwer, Andy Wachowski and Lana Wachowski, laughable, as well as well-meaning but ultimately a mess.

“Confusing,” pronounced a film companion of Yours Truly whom I ran into last night right after she sat through its almost three hours (164 minutes for North America; 171 for the UK). Incidentally, there is no intermission.

Halle Berry and Keith David. Photos courtesy of Warner Bros. Pictures.

“It started out in the present-day,” Companion said, her eyes glassy with bewilderment or suffering the effects of sitting in a dark room looking at a bright screen for what’s considered nearly half a regular work day in the United States. “Then it went back in time to the 1800s, then it became futuristic. I didn’t understand it. I don’t think I want to see it again.”

“Once was enough," asked I.
Companion simply nodded in response.

Doona Be.

Film critic Roger Ebert pronounced that he simply has to see “Cloud Atlas” three times. He’s already seen it twice for those who may have lost count.

It’s not much of a stretch to imagine that “Cloud Atlas,” which was shot in Hong Kong Germany, Singapore, the UK, United States and other locales, could cause such varied responses. The film is based on David Mitchell’s critically acclaimed and award-winning 2004 novel of the same name.

“Cloud Atlas” employs six different stories that unfold in different places and different eras to make the point that our actions – for better or worse – have consequences that impact the past, present and future. These actions have the power to work for good or evil.

The six stories each have a narrator or protagonist. The first story starts in the 19th-century South Pacific and the sixth story is set at a time far into the future. Initially, the tales work on a continuum. Each main character in the story that follows reflects on the story just ended. Then gears shift rather dramatically as the stories end but go back in time – not forward any longer – ending where it began.

Susan Sarandon and Jim Broadbent.

No doubt, all of this back and forth will give some viewers whiplash – and yes – may cause annoyance, confusion and, delight. The actors (and makeup people) sure work overtime and over time. Virtually all have multiple roles that also transcend gender, ethnicity and age. Susan Sarandon, whose appearance is something of a cameo, plays four characters; Jim Broadbent plays five. Hugh Grant, HB, TH and Hugo Weaving have six roles.

Tom Hanks and Jim Broadbent.

Another not so surprising observation about “Cloud Atlas” is that it opened in time for Oscar consideration. Taking into account its reception at Toronto and among the major critics, it will likely receive some nominations. And perhaps some winners, too.

“Cloud Atlas” is rated R for "violence, language, sexuality/nudity, and some drug use." Visit http://www.bit.ly/MsC6tA to learn more about "Cloud Atlas."

In 'The Iron Lady,' a Great Actress and a Grand Dame

Meryl Streep as UK Prime Minister Margaret Thatcher in "The Iron Lady." Photo by Alex Bailey, Courtesy of Pathe Productions Ltd.

WHAT is it about Meryl Streep and her extraordinary ability to portray fascinating women with pinpoint accuracy.

The list is impressive: Karen Blixen (“Out of Africa”), Vogue editor Anna Wintour (“The Devil Wears Prada”), Top Chef Julia Child (“Julia & Julia”). And now, Margaret Hilda Thatcher, Baroness Thatcher.

“The Iron Lady” chronicles the life of MT, particularly her near-meteoric rise and reign as the first and so far the only female Prime Minister of the United Kingdom. The film premieres in U.S. theaters today.

MS is often heralded as the greatest U.S. actress of all time. Perhaps she has garnered such praise because she effortless owns a character mind, body and soul. If she is the finest actress this young country has produced to date, that is indeed impressive. Lesser greats would include Joan Crawford, Bette Davis (MS’ film idol), Katharine Hepburn and Elizabeth Taylor.

Without doubt, in “The Iron Lady” MS is MT. Makeup notwithstanding, she bears a striking resemblance to this shopkeeper’s daughter. Her moniker, “woman of a thousand accents,” serves her well in this role, too. She nails MT’s speech patterns with barely a syllable out of place. Her performance goes beyond diction, however, to facial ticks, body language and the rhythm of her pantherlike movements. Watching MS do MT is like watching the lady herself whose legendary will was as flinty as they come, hence her moniker. (See trailers at: http://www.bit.ly/zSX47l and http://www.bit.ly/yKQ9rN).

“The Iron Lady” has been eagerly anticipated – MT, though now in her 80s and sickly remains a controversial figure more loathed than loved – and many thought MS would knock this one out of the park. It seems she has, earning a nod in the best actress category on just about every leading critics list. On Monday, she won the New York Film Critics Circle Awards prize for best actress.

“The Iron Lady” had a limited release in December to qualify for Academy Award consideration. The only surprise would be if MS’ name isn’t listed in the best actress category. It would represent her 17th nomination, another reason she is considered the nation’s finest actress. Her closest competition is KH (12). If MS wins it would be her third. KH has four and the designation as the most Oscar-decorated actress. As incredible as it may seem, MS last took home the statuette nearly 20 years ago, in 1982 for “Sophie’s Choice.”

Awards aside, the actress gives another stellar performance in “The Iron Lady” and has been the subject of most of the buzz. It takes a village, though, doesn't it? She has strong support, particularly from Jim Broadbent as the older Denis Thatcher, MT’s husband and campaign contributor.

"The Iron Lady” is rated PG-13 for some violent images and brief nudity.