Bridget Jones: Edge of Reason

2004, Beebon Kidron

There absolutely are reasons for doing all things. Venturing in the world of movies you know are going to be bad, for example, reminds you why you watch Brick on repeat with intervals of Studio Ghibli and Bill & Ted. The Bridget Jones sequel is exactly that.

Even though the quirky feel-good original is delightful, sequels rarely are any good, especially when their budgets are doubled but the plot line and set pieces are demanded to be replicated almost exactly. It takes all the bloody magic right out of the first one plot and pieces. From the opening scene of torturous New Year’s party, to love triangle set-up, the same insecurities the same jokes about bums and knickers, the same fight scene between Darcy and Cleaver. It’s pretty drear.

The premise is good enough, yes, of course Bridget is going to be clingy and ridiculous now she has won Mark Darcy, but the number of embarrassing instances the writers put her through in the first 51 minutes that lead to her breaking up with said dream boat is beyond endearing and funny, and becomes a grotesque caricature of what was lovable about the first Jones film.

Thankfully, there are about 30 minutes of redemption then. There is a new adventure to be had. One that is actually interesting, and funny all in its own right. Bridget, as goofy TV reporter is, through a believable twist, partnered to Daniel Cleaver, the brilliant Hugh Grant role, and they are bound to Bangkok. I’m not giving anything away by saying they flirt as they film things. Like the first one, the chemistry between Zellweger and Grant is stellar and I end up kinda rooting for the man slut. In this instance the rooting is doubled after watching how foolishly Bridget genuinely squandered the Darcy love affair. I’d have dumped her way earlier, but then, in movies, no one is allowed to have reasonable conversations.

While in Bangkok Bridget runs into genuine trouble, ie. Jail, and Darcy has to rescue her while Cleaver visibly leaves her to the dogs. Perfect. It is also in this setting that we get a glimpse of genuine feminine bonding which I assume is what the demographic for which this film was made needs injecting with. Doubly perfect.

Then she’s suddenly back in Britain, and its all cocked up again with the revisitations of scenes past and jokes told.