Director
Michael Morris
(TO LESLIE)

Starring
Renée Zellweger, Chiwetel Ejiofor and Leo Woodall

If films were food, then Bridget Jones: Mad About the Boy is best described as a Sara Lee Sticky Date Pudding that’s fresh out of the oven. It’s familiar, it doesn’t try too hard to be something fancy, but it’s so satisfyingly delicious and the perfect comfort food to end a meal. That’s what this film is, the end of a franchise and our journey with the one of the most beloved characters of the rom-com genre, and it’s arguably the best film of the lot (or at the very least equal to the first).

The fourth and final Bridget Jones film is a heartfelt and humorous return to the beloved franchise, with Renée Zellweger reprising her role as Bridget Jones. Directed by Michael Morris, this fourth instalment delves into Bridget’s life as a 51-year-old widow, navigating the challenges of single parenthood and re-entering the dating scene.

Starting four years after the tragic death of her husband, Mark Darcy (Colin Firth), Bridget is now raising their two children in Hampstead, London. Encouraged by her friends, she returns to work as a television producer and tentatively explores new relationships. A summer fling with the youthful Roxster (Leo Woodall) brings both comedic escapades and reflections on age and romance. Simultaneously, a deeper connection develops with her children’s science teacher, Mr. Wallaker (Chiwetel Ejiofor), adding layers of emotional depth to the narrative.

The film skilfully balances humour and sentiment, offering a mature perspective on love, loss, and personal growth. Zellweger has lost none of Bridget’s enduring charm and vulnerability, but in a pleasant turn of events, displays a more well-rounded relatability. One of my favourite things about this film is that the writers and director have scaled back on the cringe and replaced it with chaotic sincerity. One thing I wasn’t prepared for was how much this film made me feel. Tears were almost as plentiful as the laughs, thanks to some incredible writing and performances, particularly from relative newcomer Casper Knopf as the young Billy Darcy. The casting of Knopf was masterful as the son of the rigid Mark Darcy, portraying the same understated warmth and charm that Colin Firth did so perfectly.

A further strength of the film lies in the return of familiar characters, including Hugh Grant’s Daniel Cleaver, who provides unexpected moments of sincerity and introspection whilst adding a nostalgic touch. Like everything Hugh Grant does these days, he makes each scene utter perfection, and with a restrained screen time, we’re always left wanting a little more. Emma Thompson is also back as Bridget’s OBGYN, who Bridget now uses as a general practitioner (much to the chagrin of the good doctor), but in true Thompson fashion, she steals every scene she’s in. The only mystifying part of the movie is the ever so brief appearance of Isla Fisher as Bridget’s next-door neighbour, seen once early on and never again for the remainder of the film. It almost feels as though the director has edited that story arc out but forgot to remove her introductory scene.

Before watching this latest instalment, I did my due diligence and re-watched all of its predecessors. I was remembered how much I loved the first and was reminded why it is such an iconic and celebrated classic of the genre. It took the vibe of Pride and Prejudice, threw in some granny knickers and the rest is history. Next came two largely forgettable, but inoffensive sequels (Bridget Jones’s Baby slightly edging out Bridget Jones: The Edge of Reason as a more watchable film), and most of us probably thought that’s where is would and should end, so I guess coming into another film, expectations were considerably low.  But as mentioned at the beginning, Bridget Jones: Mad About the Boy may soon become the most beloved film of the franchise to many fans. This film is different, it adds layers I didn’t know I needed, it’s celluloid food for the soul, and in this critics’ humble opinion, it’s fairly close to perfection.  I guess for me, if you can make me laugh and make me cry and I still come out loving you, you’ve won my heart.

Bridget Jones: Mad About The Boy is in cinemas now.