Time Out says
A handful of individuals emerge in considerable and sympathetic psychological detail, including one who extraordinarily survived the fall. Others, though, receive much scanter treatment. In one case, the jump seems to be all we see or learn about an individual, leaving you wondering whether the distribution of such material is ethically warranted. Even if so flagrantly public a death counts an exhibitionist act, it’s hard to say whether ‘The Bridge’ is respectful, indulgent or exploitative of such motives. One interviewee bitterly refers to the site’s ‘false romantic promise’; certainly, with its brooding, fog-shrouded long-shots and ominous score, the film pays into a romantic fatalism long associated with the Bridge, in the movies as well as life (think of Madeleine’s quayside plunge in ‘Vertigo’). The aesthetic implications are numerous – distant splashes hint at Brueghel’s Icarus, tumbling unnoticed into the sea, while the whole thing invokes the bodies falling from that other architectural icon on 9/11 – but it’s not clear what is achieved beyond disturbance.