It's possible her approaching forty-third birthday is to blame, or maybe the recent funeral of “Daniel,” who everyone thinks died in a plane crash. Perhaps her mother (Gemma Jones) mentioning her biological clock has something to do with it, but whatever the reason, “Bridget” (Renée Zellweger) seems more emotionally volatile than ever when she meets the attractive American “Jack” (Patrick Dempsey). She’d intended to focus on her job, but he throws her off balance and distracts her so much that the new management decides she isn't suitable anymore. To complicate things further, she also starts seeing her ex, “Mark,” who has just gotten remarried but is about to get divorced (Colin Firth). Soon, she’s experiencing morning sickness and isn’t even sure when or with whom it might have happened. "Bridget" feels different now; she's more self-assured and independent, yet still desires a loving relationship—but with who? The film retains much of the sincerity from Helen Fielding’s initial idea, and as her character matures – both in intelligence and size – Zellweger has created a believable person that it’s easy to connect with, even for men. She combines quiet appeal with a relatable awkwardness in a way that's fairly engaging, and Firth is dependable as always while Dempsey offers some visual interest; therefore, “Bridget’s” story could continue much like before. However, the film does miss Hugh Grant and the particular kind of witty back-and-forth he and she had through their enemies-to-lovers dynamic. Also, it's hard to ignore that even with its realistic touches, some themes have been explored a bit too often already. Neil Pearson as boss “Finch” is now mostly in the background, and we don’t get enough of the helpful advice from Jones and the underutilized Jim Broadbent. It’s an acceptable addition to the series, but it has lost much of its original charm; at just over two hours, I felt somewhat bored by the end. It remains entertaining, though not as inventive or humorous as it once was.

Source on TMDB