BRIDGET JONES: MAD ABOUT THE BOY. A Bittersweet Return of Bridget [REVIEW]

Valentine’s Day, a love holiday commercialized by big corporations, is a time when couples are eager to immerse themselves in an on-screen romantic illusion. This year, audiences can watch the fourth installment of the romantic adventures of the British icon, Bridget Jones.

Authentic, imperfect, insecure, a hopeless romantic attracting trouble and making blunder after blunder, honest, funny, unconcerned with conventions, saying whatever comes to her mind, with a glass of wine in one hand and a cigarette in the other—Bridget Jones, as described in Helen Fielding’s books and brought to life in the early 2000s by the brilliant Renée Zellweger, was a breath of fresh air in an era dominated by protruding hipbones on runways and yet another “miracle diet” in women’s magazines.

Looking back, it’s shocking that a character weighing just under 60 kilograms (about 130 lbs) was portrayed as “chubby.” However, Bridget was a product of her time, and her pursuit of the perfect body reflected the still-absurd societal pressure for women to achieve physical perfection. She was, and remains, a cross-generational heroine—one with whom any woman can relate at some stage in her life.

The previous films in the series chronicled Bridget’s quest for true love—usually in the form of a certain human-rights lawyer: the distant yet warm-hearted man in a suit, Mark Darcy. In the last sequel, Bridget, now a successful TV producer, found herself pregnant—with the father revealed to be her long-time love, Mark Darcy (played by Colin Firth). Bridget Jones: Mad About the Boy takes place several years later, where the protagonist is now a widow and a single mother of two: Billy and Mabel. Colin Firth’s character, having died during a humanitarian mission in Sudan, only appears in poignant flashbacks.

This shift in tone is the most significant change in the Bridget Jones series. While previous films were filled with comedic mishaps, this installment blends bittersweet moments with profound existential questions: How do you rebuild your life after losing the love of your life? How do you support your child grieving the loss of their father? Despite this unexpected turn, Bridget remains the same old Bridget—even as a mother. She’s still swearing, messy, and comparing herself to the seemingly perfect moms at her kids’ school. Yet she’s full of humor, warmth, and imagination, loving her children with all her heart. The film doesn’t lose its comedic edge, and Zellweger portrays Bridget with charming honesty—now a little wiser and shaped by life’s experiences, but still as quirky, clumsy, and endearing as ever.

However, the true scene-stealer is Hugh Grant, reprising his role as the incorrigible playboy Daniel Cleaver—who, surprisingly, becomes the film’s strongest asset. The once-fiery relationship between Cleaver and Jones has evolved into a tender, platonic friendship, and Grant masterfully portrays the arrogant, aging, and flirtatious rogue. He avoids outdated, cringeworthy, or sexist humor, giving his character a newfound depth and warmth previously unseen in the series.

What’s rare for a sequel is that nearly all beloved characters return. Bridget is supported not only by Daniel, who babysits her children in the evenings, but also by Miranda (Sarah Solemani), her colleague from the third film, Dr. Rawlings (played by the brilliant Emma Thompson), and her longtime friends Shazzer (Sally Phillips), Jude (Shirley Henderson), and Tom (James Callis).

New to the cast are Leo Woodall (One Day, The White Lotus) and Chiwetel Ejiofor (12 Years a Slave), playing Roxster and Scott—Bridget’s two love interests. It’s easy to spot nods to earlier films. The charming and flirty Roxster, whom Bridget meets in a park but who vanishes after a few passionate dates, is an obvious callback to Daniel Cleaver. Meanwhile, Scott (or rather Mr. Wallaker), a reserved, pragmatic, and practical teacher to Bridget’s children, echoes Mark Darcy, concealing his emotions beneath a composed exterior.

Ironically, these romantic subplots are the weakest parts of the film. Watching a 50-year-old woman paired with a twenty-something who lacks maturity—despite his confidence and heartthrob allure—feels off. Scott is certainly a more suitable match for Bridget, but the filmmakers rush their storyline, giving it little room to develop. The romance in Bridget Jones: Mad About the Boy may be underwhelming, but as a comedy and a nostalgic journey down memory lane in the Bridget Jones universe? Judging by the audience—women of all ages laughing loudly in the cinema—it absolutely works.