S Poddar
The last installment of the Bridget Jones saga managed to pull off an unexpected feat—delivering a mix of nostalgia and humor that allowed it to land on its feet despite its somewhat overextended premise. The third film, centering around Bridget’s journey into motherhood, was a surprising success, injecting warmth and charm into a franchise that had already taken quite a few narrative leaps. However, this latest sequel, which follows Bridget’s new romantic adventures, feels like it has finally run out of momentum.
This fourth chapter, much like many ill-fated sequels, struggles to find its footing. The comedic elements that made the earlier films so endearing have been dialed down in favor of a more dramatic, melancholic approach. The attempt to balance humor with deeper emotional beats results in a movie that feels both underwhelming and unfocused. There’s an awkward sense of detachment among the cast, with little chemistry between the central characters. In particular, Renée Zellweger’s portrayal of Bridget seems oddly distant, as though her mind is elsewhere throughout the film.
That said, there are a few bright spots. A cleverly executed parody of the iconic Levi’s swimmer advertisement provides a fun moment, introducing a modern Darcy-like figure in the water while accompanied by Dinah Washington’s “Mad About the Boy.” There’s also an amusing nod to contemporary culture when Bridget is asked at a checkout if she’d like to complete her meal deal. And of course, Hugh Grant delivers some of the film’s biggest laughs, reprising his role as the aging yet charming rogue Daniel Cleaver. Emma Thompson also returns as the no-nonsense gynecologist from the previous movie, providing a dose of sharp wit. Despite these highlights, Bridget herself feels stranded, navigating a story that never quite finds its spark.
For those who want to go into the film without spoilers, consider this a warning. Early on, it’s revealed that Bridget’s husband, Mark Darcy, has passed away. Unlike the sudden, somewhat farcical demise of Mr. Big in Sex and the City, Mark’s death is presented with an air of noble mystery—he perished while engaged in humanitarian work abroad, though the film doesn’t delve into the details. Now a widow, Bridget resides in a picturesque Hampstead home, raising her two preteen children, Billy and Mabel. Their fun-loving uncle, Daniel Cleaver, occasionally steps in for babysitting duties, while their prestigious prep school is overseen by the strict yet undeniably attractive science teacher, Mr. Wallaker, played by Chiwetel Ejiofor.
Bridget’s loyal circle of friends—Shazzer, Jude, Tom, Miranda, and Talitha—all make brief appearances, though their roles feel more like obligatory cameos than meaningful contributions to the story. Likewise, her parents, played by Gemma Jones and Jim Broadbent, return in a somewhat somber capacity, while Celia Imrie’s role is so fleeting it barely registers.
After years of grief, Bridget decides it’s time to embrace life again. She dusts off her professional skills and returns to her career as a TV producer, albeit still as chaotic as ever. Encouraged by her friends, she dips her toes into the dating scene once more, leading to an unexpected whirlwind romance. Her love life takes a surprising turn when she connects with Roxster, a much younger man she meets on a dating app. Played by Leo Woodall, Roxster is a charming park attendant who rescues Bridget and her children after a mishap in a tree. Their flirtation quickly escalates, leading to a passionate fling that pushes Bridget out of her comfort zone.
This May-December romance aligns with a recent wave of films exploring relationships between older women and younger men, a theme explored in titles like Babygirl, A Family Affair, and The Idea of You. While Hollywood is starting to embrace these dynamics, one can’t help but wonder if the French film industry is merely biding its time before tackling the real-life romance of Brigitte and Emmanuel Macron.
However, Bridget’s romantic journey doesn’t stop there. A school trip organized by Mr. Wallaker presents another potential love interest. In what seems like an inexplicably ambitious school excursion, the students and their chaperones embark on a trip from London to the scenic Lake District, as if transported by a supersonic jet. Amid this picturesque setting, Bridget and Mr. Wallaker begin to develop an unexpected connection, complicating her already tangled love life.
Aside from Grant and Thompson’s standout performances, much of the cast appears to be merely going through the motions. The script doesn’t offer them much to work with, leading to performances that feel uninspired. Zellweger, in particular, seems disengaged, while Woodall’s portrayal lacks the charm he has demonstrated in past roles. His interactions with Bridget on Hampstead Heath feel like a lesser echo of his romantic moments in One Day, failing to recapture the same magic. Ultimately, this sequel struggles to reignite the spark of the original trilogy, leaving longtime fans with a sense of disappointment.
For those who have followed Bridget’s journey from the start, this film may not deliver the satisfying conclusion they hoped for. While it does offer a few entertaining moments, it lacks the charm and chemistry that made its predecessors so beloved. Some viewers may find solace in the nostalgia of seeing familiar characters return, but others might prefer to remember Bridget as she was in the previous three films, before this latest chapter diluted her charm.
Bridget Jones: Mad About the Boy is set for release on 12 February in Australia, 13 February in the UK, and will be available on Peacock in the US from 13 February.
