In the following review of Bridget Jones: The Edge of Reason, Lehmann faults Fielding for trying to skirt around the feminist criticism of her work, while at the same time, continuing to portray Jones as “anachronistic” and “antifeminist.”

In the following review, Merritt praises the universal appeal of Bridget Jones: The Edge of Reason, but contends that Fielding should abandon the confessional diary genre after this book.

In the following review of Bridget Jones: The Edge of Reason, Alessio calls the novel “fun,” but also finds it predictable and filled with stereotypical caricatures.

In the following review, de Botton lists eleven generalizations about men and women upon which Bridget Jones: The Edge of Reason is based, and contends that Fielding has cleverly situated her humor around dark and tragic human issues.

In the following negative review of Bridget Jones: The Edge of Reason, Heller criticizes the novel for its “inanity” and lack of plot, while denouncing Fielding for comparing herself to Jane Austen.

In the following review of Bridget Jones: The Edge of Reason, Ogle compliments Fielding for her creation of Bridget Jones, calling the everywoman character “not only hilarious, but also universal.”

In the following review of Bridget Jones: The Edge of Reason, Rubin commends Fielding's sharp sense of humor, but later refers to Fielding's books as collections of “stand-up comedy routines” rather than novels.

In the following review of Bridget Jones: The Edge of Reason, Leach praises the novel as an “endearing” comedy of errors.

In the following review, Potts lauds Bridget Jones: The Edge of Reason, and asserts that the book touches on contemporary themes such as physical and spiritual self-development and sexual etiquette.

In the following positive review of Bridget Jones: The Edge of Reason, Sandoval praises Fielding's humorous insights regarding the lives of middle-aged women.