12 Feb REVIEW – ‘Bridget Jones: Mad About the Boy’ is a worthy and heartfelt conclusion to the saga of Miss Jones

It’s been almost 25 years since Renée Zellweger turned the star of Helen Fielding‘s bestselling novel into one of the most undeniably endearing, endlessly lovable, and perpetually chaotic heroines of the rom-com genre. Two Oscars and a career of numerous ups and downs, Zellweger returns to her most beloved role in Bridget Jones: Mad About the Boy, the fourth and purportedly final instalment in the long-running series.

This latest chapter is both a poignant evolution for Bridget and a warm return to the humour and romantic misadventures that made the character iconic. While the absence of Colin Firth’s Mark Darcy casts a long shadow over the film, the script finds clever ways to explore grief, middle age, and modern love without losing its signature charm. The result is an earnest, surprisingly moving, and frequently very funny farewell that mostly sticks the landing, even if a few moments feel a little too predictable.

The film opens with Bridget (Zellweger) navigating life as a single mother after the tragic loss of her husband, Mark (Firth). Now in her early fifties, she’s balancing raising their two young children, a return to the workforce, and the nagging feeling that she should attempt to rejoin the dating world. Enter Roxster (Leo Woodall), a much younger man she meets on Tinder who injects a bit of excitement back into her life.

While the fling offers some much-needed distraction, Bridget’s real romantic entanglements become complicated when she finds herself unexpectedly drawn to her son’s smart and slightly gruff science teacher, Scott Wallaker (Chiwetel Ejiofor). As she stumbles through dating apps, PTA meetings, and the general chaos of trying to have it all, Bridget is forced to confront what she truly wants for her future. Meanwhile, the ever-charming (and ever-troublesome) Daniel Cleaver (Hugh Grant) makes his grand return from the dead, adding a layer of unexpected support to her complicated life.

Zellweger once again embodies Bridget with an effortless mix of warmth, self-deprecation, and comic timing. Even after all these years, she makes the character feel just as relatable and adorable as ever. Now older, slightly wiser, but still prone to the occasional humiliating mishap, Bridget’s journey in this film carries more emotional weight than previous instalments. Zellweger beautifully conveys the grief that lingers beneath Bridget’s sunny exterior while still delivering the kind of physical comedy and witty one-liners that fans expect. Watching her stumble her way through a date with Roxster or try to keep her composure in front of Scott, it’s impossible not to root for her all over again.

Speaking of romantic interests, the effortlessly smouldering Woodall is insanely charming as Roxster, providing a fun, lighthearted contrast to Bridget’s usual serious relationships. He brings just the right mix of boyish enthusiasm and emotional depth to avoid the tired “hot young fling” trope. However, it’s Ejiofor who truly shines as Scott Wallaker. The chemistry between him and Zellweger is quietly compelling, with their relationship developing in a way that feels more grounded than some of Bridget’s past romances. Ejiofor brings a gentle sincerity to the role that makes Scott feel like a real contender for Bridget’s heart.

Of course, it wouldn’t be a Bridget Jones film without Grant’s saucy womaniser Daniel stealing focus at every turn. After being presumed dead in Bridget Jones’s Baby, his reappearance now casts him as more of a steadfastly loyal pal for Bridget than a potential suitor. It’s a stroke of genius by screenwriters Fielding, Dan Mazer, and Abi Morgan. After Mark’s death, Bridget and Daniel’s relationship has evolved into something genuinely deep to the point her children refer to him as “Uncle Daniel.” Grant slips back into the role with ease, exuding the same smug charm that made Daniel such an entertaining foil in the earlier films. His interactions with Bridget are some of the funniest and sweetest in the movie, serving as a reminder of how much chemistry Zellweger and Grant have always had.

The supporting cast is just as strong, with Emma Thompson reprising her role as the delightfully blunt Dr. Rawlings. Her scenes with Bridget are some of the film’s comedic highlights, offering wry observations on aging, relationships, and motherhood. Jim Broadbent and Gemma Jones both pop in as Bridget’s ever-concerned parents. Firth does still appear, though his inclusion is best left unspoiled. And, of course, Bridget’s ever-loyal friends Shazzer (Sally Phillips), Jude (Shirley Henderson), and Tom (James Callis) return for some much-needed wine-fueled support, ensuring that the film retains its signature friendship dynamic.

Director Michael Morris brings a fresh but respectful touch to the franchise. His direction allows for moments of introspection while still embracing the classic Bridget Jones brand of humour. The film’s balance of comedy and emotional depth works well for the most part, though there are moments where the tonal shifts feel a bit abrupt. Certain scenes lean heavily into slapstick territory, which, while amusing, can sometimes undercut the more heartfelt moments.

One of the film’s biggest strengths is its willingness to engage with Bridget’s age and life stage without treating it as a gimmick. The script doesn’t shy away from the realities of dating in middle age, from navigating dating apps to the unspoken double standards that women face. At the same time, it never feels like it’s making a joke at Bridget’s expense—rather, it treats her journey with empathy and honesty. The conversations about grief and the complicated path of moving forward are particularly well-handled, adding a layer of maturity to the story without making it overly melancholic.

However, the film isn’t without its flaws. While the romance between Bridget and Scott is well-developed, some plot beats are a little too familiar, relying on tried-and-true rom-com tropes rather than taking any real risks. You can see every plot twist coming from a mile away, which is hardly the worst criticism for something seeking to just provide some blissful escapism. And while the film’s conclusion is satisfying, it does wrap things up a bit too neatly, leaving little room for ambiguity or surprise.

That being said, these minor issues don’t detract too much from the film’s overall charm. Bridget Jones: Mad About the Boy is a worthy and heartfelt conclusion to Bridget’s story. It delivers the humour, romance, and occasional cringe-worthy mishap that fans expect, while also allowing its heroine to grow in ways that feel both authentic and rewarding. Zellweger’s performance anchors the film, reminding us why Bridget remains one of the most iconic characters in modern romantic comedy. Whether you’ve been following her journey from the start or are just meeting her now, there’s something undeniably comforting about spending another two hours in her wonderfully messy world.

Distributor: Universal Pictures
Cast: Renée Zellweger, Chiwetel Ejiofor, Leo Woodall, Colin Firth, Hugh Grant
Director: Michael Morris
Producers: Julie M. Anderson, Ken Meyer
Screenplay: Helen Fielding, Dan Mazer, Abi Morgan
Cinematography: Suzie Lavelle
Production Design:
Costume Design:
Editor: Mark Day
Music: Dustin O’Halloran
Running Time: 125 minutes
Release Date: 13th February 2025 (Australia)