‘Bridget Jones: Mad About the Boy’ Review: Renée Zellweger Charms in What Feels Like a Sweetly Romantic but Mild Finale

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During the late 2010s, a humorous Twitter account named @ModernSeinfeld emerged, generating hypothetical “Seinfeld” episodes as if the series had continued into the 21st century. For instance, one suggested episode was titled “Jerry’s GF texts during movies, claiming it’s acceptable because she sits in the last row.” Similarly, there’s an opportunity to conceive ideas for modern Bridget Jones comedies, such as “Bridget Jones: Love Me Tinder,” “Bridget Jones: Last Brexit to Brooklyn,” and “Bridget Jones’s Old Tweets that Got Her Canceled,” given her initial appearance in the 1996 novel “Bridget Jones’s Diary.

In the latest Bridget Jones movie, “Bridget Jones: Mad About the Boy,” there’s a nod to Tinder, as well as jokes about Harry Styles and a lip serum bought from the dark web that gives Bridget a plumped-up pout reminiscent of the Kardashians. This shows that the movie is far from being outdated. The main romantic relationship in the film involves Bridget, now in her 50s, with a 29-year-old handsome biologist named Roxster (Leo Woodall). This modern twist is an effort to keep the film relevant, as the unconventional age gap between them seems quite casual and “Why not?” – at least he’s not her intern.

While I appreciate the nostalgic tone, I feel “Mad About the Boy” could have been more daring in incorporating modern trends and stereotypes for Bridget Jones’ character. The film, intentionally, carries a tender, middle-aged gentleness. Being the first “Bridget Jones” movie to premiere on a streaming platform (Peacock), it seems fittingly at home there. One would expect Bridget, with her new young suitor, to engage in the chaotic and outrageous behavior that defined the original trilogy: the endearing chaos of “Bridget Jones’s Diary” (2001), the undervalued absurdity of “Bridget Jones: The Edge of Reason” (2004), and the just-right amount of foolishness in “Bridget Jones’s Baby” (2016). However, this film deviates from that pattern, presenting more as a romantic conclusion rather than another wild Bridget escapade. Instead, it appears to be a heartwarming swan song for the series.

Nine years have passed since the conclusion of the last film, where Bridget gave birth to her son William and married my beloved Mark Darcy (Colin Firth). However, fate had other plans for us as our blissful future took a tragic turn. Today, I am a mother to William and his younger sister Mabel, but my heart still yearns for the man I lost – Mark, who was taken from us by an explosion in Sudan. The story picks up four years after his death, a period in which I have been consumed by grief and motherhood, with little room for anything else. I’ve left my career behind as a television producer, unable to find solace or motivation elsewhere. I haven’t sought companionship nor entertained any romantic desires. Instead, I am haunted by Mark’s presence – he appears to me like a loving ghost, reminding me of the perfect life we once shared that I long for so dearly.

In ‘Mad About the Boy’, Bridget embarks on a journey to leave her mourning behind and reenter society. This adventure commences in an exuberant opening scene where she bounces on the bed with her children and mimics David Bowie’s ‘Modern Love’. Roxster, portrayed as a charming Adonis by Leo Woodall from ‘The White Lotus’, quickly ignites Bridget’s romantic feelings. The story then unfolds, questioning whether their relationship will endure.

The film also touches upon various subplots, such as William’s profound longing for his father causing him to retreat, or Bridget’s professional decision, following Dr. Rawlings’ advice (portrayed brilliantly by Emma Thompson), to resume her work, taking up the role of a talk show producer for “Better Women.” The next day after their first night together, Bridget arrives at the studio with disheveled hair and a bewildered expression, prompting one coworker after another to inquire, “Did you have sex last night?” Eventually, she admits to her colleagues (to which they cheer), revealing that the entire audience had overheard her confession. This moment is quite amusing, but it’s almost the only scandalous incident in the movie.

‘Mad About the Boy’ has a nostalgic, tender, and genuinely romantic feel, rather than a comedic one, which gives it an authentic charm. The story seems to wrap up the series neatly, and if this is truly the end for our beloved Bridget, it provides a satisfying resolution. Zellweger delivers another convincing portrayal of Bridget, filled with eagerness, self-doubt, but now tinged with maturity and responsibility. When she encounters Mr. Wallaker, played by Chiwetel Ejiofor, he appears shy, leaving us unsure if this is the start of something more. However, Ejiofor’s subtle performance adds depth to the film, as does the gradual development of their intellectual-meets-reformed-flighty relationship. Hugh Grant reappears as Daniel, the seasoned charmer who still calls Bridget ‘Jones’, and his cynical wit is a delightful addition. Overall, ‘Mad About the Boy’ is heartwarming rather than thrilling. It offers everything you’d expect from a ‘Bridget Jones’ film, minus the chaos.

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2025-02-12 12:16