A star rating of 4 out of 5.
Slap on your spanks and pour yourself a glass of Chardonnay. Bridget Jones is on our screens again.
Helen Fielding’s formerly tragic and single-minded character seems to be experiencing something new this time. It’s quite rare to find high-quality fourth instalments in movie series. Rocky IV and Alien: Resurrection are two exceptions that come to mind, but typically, the fourth outing strains credibility, as creativity often falls short.
However, throughout our lives, Bridget has been a constant figure for us. Now, with Renée Zellweger reprising her role, Bridget is seen as a mother of two – the reserved Billy and the playful Mabel. Additionally, she’s faced deep-seated sorrow due to some tragic events.
At the start of Bridget Jones: Mad About the Boy, we quickly find out that Mark Darcy (played by Colin Firth) passed away four years prior on a charitable endeavor in Sudan. Now single once more, she leans on her former boss Daniel Cleaver (Hugh Grant) for help as she attends an awkward dinner gathering where friends express their condolences for her status as a middle-aged widow at a social event.
However, “Mad About the Boy” doesn’t dwell excessively on melancholy. Instead, Bridget hesitantly ventures into the realm of digital romance via Tinder, encountering matches, disappearances (ghosting), and the various quirks associated with dating platforms.
Swiftly, she forms a connection with an attractive gardening expert known as Roxster (Leo Woodall from One Day, radiating with muscular charm).
Is it amusing to consider Bridget dating someone who’s 20 years younger than her? The excitement multiplies when she returns to work, disheveled after a night of romantic fervor with her new partner. Her colleagues’ first encounter with him – imagine wet T-shirts and doggy distractions – is quite the spectacle.
Under the skillful guidance of newcomer director Michael Morris (To Leslie), the carefully constructed screenplay by Fielding, Abi Morgan, and Dan Mazer effectively blends humor with emotion – a feat that might not have been fully achieved in the previous three films.
Yes, indeed, some humorously clumsy moments can be found – Bridget tripping occasionally – but Morris largely avoids excessive slapstick. Instead, he delves into the anxiety of reaching middle age, grappling with the consequences of overly enthusiastic children, impeccable mothers at school entrances, and, yes, the daunting task of picking the right contraceptives at the pharmacy.
Without a doubt, following the less-than-impressive third installment in 2016 titled Bridget Jones’s Baby, there’s an unmistakable sense that the series has found its rhythm once more. Dare we say it quietly, but this latest film might just be the best Bridget Jones movie ever made – maybe because both characters and the familiar cast appear to be having a fantastic time bringing them to life on screen.
Once more taking center stage is Zellweger, while Grant delivers a hilarious performance as Cleaver. When he isn’t wooing poets or models, Cleaver continues to make flirtatious remarks towards “Bridge.” Emma Thompson shines in her role as our heroine’s doctor, and Colin Firth’s brief appearance is sure to bring tears to your eyes.
Not only have the classic characters returned – such as Bridget’s friends like Shirley Henderson and Sally Phillips, along with her father, portrayed by Jim Broadbent – but it seems everyone was eager to be part of the action.
As each character shines under the spotlight, fresh faces like Chiwetel Ejiofor, portraying Billy’s science instructor, effortlessly blend into the overall picture or pattern of events.
In my humble opinion, the film boasts an impressive soundtrack that had me tapping my feet right along with it. From the infectious beats of The Clash’s “Should I Stay or Should I Go” to David Bowie’s soulful “Modern Love,” the music was the perfect backdrop for our protagonist, Bridget, as she gracefully danced her heart out.
This movie beautifully captures London through various seasons, from bright and sunny summers to tranquil winters, showcasing its enchanting sides. It skillfully presents emotional scenes, such as a heartwarming moment where balloons are released for a special birthday celebration in a tale that sensitively explores the complexities of dealing with grief.
At a certain moment, Bridget Jones expresses, “It’s time for me to truly live.” Considering the circumstances shown here, she seems to be thriving and experiencing her life to the fullest.
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2025-02-12 14:06