Bridget Jones: Mad About the Boy (2025)

Twenty years after Bridget Jones stumbled upon her first diary, she returns to the screen with wrinkles, children and an iPhone.

This film, directed by Michael Morris, is like reuniting with a college friend: we recognize her essence, we celebrate her jokes, but we notice that she struggles to keep up the pace of yesteryear.

With Renée Zellweger still radiating charisma, the film is a warm update of the romantic comedy we fell in love with, although it clings too closely to the formula we already know.

Michael Morris opts for a more mature tone, moving away from the absurdist comedy of the first installments. Here, Bridget's awkward falls are not on a skating rink, but in the chaos of parenting or dating.

The camera takes its time to show a widowed Bridget, messy and in search of a new love. The humor is still present, but the focus is more intimate.

Morris manages to balance emotional scenes with classic gags. However, in his eagerness to show a “real” Bridget, the film sometimes feels like a drama with touches of comedy, not the other way around.

The plot is a mix of predictable situations: disastrous dates, misunderstandings with the kids, and a third act where everything is resolved.

What saves the script are the everyday details, where the comedy breaks through. The problem is not what it tells, but how it tells it, the twists are so obvious that they do not surprise or add anything interesting to the saga.

Renée Zellweger proves why Bridget Jones is her iconic character. While it's no longer surprising, it's four films with a similar plot, her awkwardness is still charming.

In this film Zellweger masterfully blends vulnerability and humor.

Hugh Grant appears as a ghost from the past, reminding us that Daniel Cleaver is still the cad we love to hate. His chemistry with Zellweger is still intact, though his role is more of a nostalgic wink than a real contribution to the plot.

The cinematography plays with two worlds, the bright city of dating and Bridget's domestic chaos, this is a visual coup that reflects her double life. The editing flows well, though some subplots feel rushed.