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Four years ago, Bridget Jones (Renée Zellweger) lost her husband, Mark Darcy (Colin Firth), who died during a humanitarian mission in Sudan. Unable to work, Bridget struggles to raise her two children, Billy (Casper Knopf) and Mabel (Mila Jankovic), as she wrestles with grief while her family and friends offer conflicting advice on how to move forward. Daniel Cleaver (Hugh Grant) remains in Bridget's life as a friend and babysitter, but the pair no longer engage in anything romantic. Choosing to embrace life again, Bridget takes a job as a talk show producer and opens herself up to the dating pool, with a chance encounter leading to a connection with the handsome young Roxter (Leo Woodall). Despite the age gap, Bridget and Roxter pursue a relationship, though she also finds herself drawn to Billy's new science teacher, Scott Walliker (Chiwetel Ejiofor).
Like all great romantic comedies, Bridget Jones: Mad About the Boy succeeds because the story provides a robust dramatic foundation. This fourth film is not just about Bridget looking for love during her latter years; it's about a widower trying to move on from an unspeakable tragedy while being a mother to two vulnerable, distraught children. Billy particularly struggles to move on from Mark's death, fearing that he will forget his father as the years progress. One outstanding scene between Scott and a grieving Billy is astonishingly poignant, showing a sense of maturity that rom-coms rarely exhibit. The story's other dramatic components are similarly effective, including Daniel reflecting on his lonely life as he confronts his morality, with the drama feeling like an organic part of the story instead of something perfunctory or contrived. Furthermore, the script is in touch with the trials and tribulations of modern dating, incorporating dating apps and ghosting, and its depiction of contemporary parenting is surprisingly authentic. Nothing in Mad About the Boy feels manufactured or Hollywood-ised, with the film retaining the franchise's uniquely British charm.
Luckily, Bridget Jones: Mad About the Boy does not skimp on the laughs, with director Michael Morris (To Leslie) ensuring the picture is still an incredibly amusing and enjoyable sit despite the dramatic material. The fourthquel runs a hefty 125 minutes, but while the notion of a rom-com exceeding two hours seems unappealing (90 minutes is the usual sweet spot), Mad About the Boy justifies its length with a substantive narrative. With Morris's direction and the sharp editing, the movie sustains a wonderful sense of energy and style, easily scoring belly laughs. Although Morris is a long-time television director (he oversaw episodes of Better Call Saul and Preacher, among others), and this is only his second feature film, the helmer mounts an impressively slick and thoroughly cinematic romantic comedy, making it all the more baffling that Peacock sent the movie straight to streaming in the United States. Moreover, Morris confidently navigates the tonal shifts when the characters pause for soulful reflections or discussions about life and death.
Returning to screens six years after her Oscar-winning turn in 2019's Judy, Renée Zellweger reprises the iconic role without missing a beat, handling the comedy and drama with equal confidence. Zellweger provides an engaging inner monologue throughout the picture, and she occasionally conveys so much without words, such as the excitement of texting a new person on a dating app or the anxiousness of being ghosted. The progression of Zellweger's performance over the years is genuinely impressive, credibly transitioning from young and exuberant to a more world-weary parent. Thanks to Zellweger, investing in Bridget's situation and caring about what happens to her is easy. Fortunately, a capable supporting cast surrounds the actress. Although Firth's Mark Darcy is now deceased, the actor is not absent from the sequel. Firth shows up during a few heartwrenching moments to reinforce the hole his death left in Bridget's life, and these scenes are sweet instead of corny. One particular sequence towards the end of the film, at a Christmas pageant, is almost unbearably poignant and left this reviewer with tears in his eyes. Who expected that from a rom-com?
Meanwhile, after electing not to return in Bridget Jones's Baby, Hugh Grant makes an excellent impression playing Daniel Cleaver again, twenty-one years after last playing the role in Bridget Jones: Edge of Reason. Grant remains an utter joy, and even though he is no longer a heartthrob leading man, he's genuinely hilarious and believably handles the dramatic moments. Grant stated in an interview that he wrote additional scenes to give Daniel a more meaningful and emotional role in the story since he adored the script and wanted to participate, and the effort pays off wonderfully. Additionally, Mad About the Boy pulls out all the stops by bringing back as many returning actors as possible, including the wonderful Jim Broadbent as Bridget's father, Gemma Jones as Bridget's mother, Sally Phillips as Bridget's close friend Shazza, Emma Thompson as Bridget's doctor, and several more. The new cast members are equally terrific, with the handsome and charismatic Leo Woodall as Bridget's new love interest, and the always-reliable Chiwetel Ejiofor as the science-minded Mr. Walliker.
Even though the Bridget Jones movies are primarily aimed at women, the appeal of Mad About the Boy extends to men since the picture explores relatable, universal themes while delivering uproarious gags that should please any viewer, regardless of gender. Indeed, despite Bridget's dating woes, the movie smartly avoids demonising men. The feature is perhaps a touch too long, and it can't match the brilliance and novelty of the original film, but these are minor quibbles. Bridget Jones: Mad About the Boy is thoroughly entertaining, hilarious, and touching, and it is hard to imagine a more fitting cinematic conclusion for the titular character. Indeed, with no more novels to adapt and seemingly no more dramatic arcs for Bridget to undertake, this is the perfect ending for the series.
7.8/10
