|Miramax Films | Release Date: April 13, 2001||CRITIC SCORE DISTRIBUTION|
The Zellweger-Firth-Grant triangle works as irresistibly as Hepburn-Grant-Stewart in "The Philadelphia Story."
She's (Zellweger) so disarming and so deeply Bridget -- gliding between mortifying slapstick and pathos -- that she's entirely won you over by the time the credits have rolled. The opening credits.
The film not only works better than expected but gets the important things right, starting, of course, with Zellweger's Bridget and Bridget's mind-set.
Zellweger has a ticklish furriness reminiscent of Jean Arthur in her screwball comic prime.
As adorable and predictable a film as the Helen Fielding best-seller that inspired it.
Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.
It's Zellweger's movie to win or lose, of course, and she succeeds without the slightest touch of Hollywood glamour.
What's right as rain with Diary is the casting.
The worst part of Ms. Zellweger's plight is that she, along with others in the cast, has fallen victim to a first-time feature director whose vocabulary doesn't seem to include the word "simplicity."
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