A washed up singer is given a couple days to compose a chart-topping hit for an aspiring teen sensation. Though he's never written a decent lyric in his life, he sparks with an offbeat younger woman with a flair for words.
Benjamin Barry is an advertising executive and ladies' man who, to win a big campaign, bets that he can make a woman fall in love with him in 10 days. Andie Anderson covers the "How To" beat for "Composure" magazine and is assigned to write an article on "How to Lose a Guy in 10 days." They meet in a bar shortly after the bet is made.
The story picks up four weeks after the first film, and already Bridget Jones is becoming uncomfortable in her relationship with Mark Darcy. Apart from discovering that he's a conservative voter, she has to deal with a new boss, strange contractor, and the worst vacation of her life. Written by
Earned $8.7 million in its 530-theater opening weekend, setting the record of the highest-grossing limited release opening weekend. This record was broken seven years later by Mission: Impossible - Ghost Protocol (2011), which earned $12.8 million in its 425-theater debut. See more »
Bridget says at the beginning of the film, which is at Christmastime, that she has "been in a functional relationship with an adult male for six wonderful weeks," but she actually begins to date Mark Darcy the previous Christmas. This means they have been together for approximately one year. See more »
I truly believe that happiness is possible... even when you're thirty-three and have a bottom the size of two bowling balls.
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Bridget Jones goes beyond the edge of reason into sheer stupidity and boredom
First rule of comedy: Be funny.
But the makers of "Bridget Jones: The Edge of Reason" don't bother with such trivial matters. Not when they've deluded themselves into believing that merely bringing back Renée Zellweger, Colin Firth, Hugh Grant and a few others would automatically make the sequel funny, too. They were wrong.
The 2001 original was funny and charming. It had verve and wit. Bridget (Zellweger) was normal, as were her dilemmas and crises. She was plucky, resilient, but never a fool. We identified with her. Daniel (Grant) was delightfully caddish, Darcy (Firth) properly funny.
The sequel squanders a tremendously talented cast, none of whom seems to have a clue what to do. I don't know if they're wholly to blame - they're stuck in a dud. Although again based on Helen Fielding's novel, this has none of the original's wit or zip.
Although the sequel begins only four weeks after the original ended, Bridget, Darcy and Daniel have become caricatures of themselves. Their behavior's cartoonish. You know this film's in trouble when Grant simply slums it as a rake and Firth sputters about as if he's wondering how on earth he wound up agreeing to make this horrible picture.
The film relies completely on Zellweger's star power. She's game, but gives quite possibly the worst performance of her career. Bridget's become a daft twit. She's lost any semblance of intelligence. With nothing genuinely funny to fall back on, director Beeban Kidron gets Zellweger to simply waddle about the place trying to eke laughs out of us. Unfortunately, Zellweger's shtick is barely amusing and gets tiresome very quickly.
The idea of laughing at a large, buxom lass while she pratfalls her way through a horrendous film must strike a chord with some women. At the screening I attended, I sat next to four women who did not laugh - heck, I didn't hear even a chuckle from them throughout the entire film. Yet, they applauded at the end, as if they'd just discovered their anthem film.
It took four writers - Fielding, Andrew Davies, Richard Curtis and Adam Brooks - to write the drivel for this movie. They never find the right tone even once. Every joke is telegraphed or straining to be funny. This utterly unnecessary movie seems, at times, like an extended music video. But even the songs are predictable. During two scenes - at the Bangkok airport and an idiotic fight scene in a fountain - the music was so loud, it completely drowned out the dialogue. I don't know if the theater was to blame for this problem, but I suppose it was a blessing in disguise given how insipid much of the dialogue is.
This film is devoid of any novelty or humor. By the time we get to an excruciatingly long and unfunny prison sequence featuring yet another sorry moment that tries desperately to be funny - a chorus of Madonna's "Like a Virgin" - this film has gone so way off the tracks, there's no hope of it ever getting back on. This is a great example of a film being made because of star power and the need to make money, regardless of whether it was good or funny.
The sad thing is some terrific independent films are struggling to be released wide right now. But tripe like Kidron's film gets widely released a week early. "Bridget Jones: The Edge of Reason" is lousy storytelling, rotten acting and awful film-making.
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