The LAtest bridget jones is here, but is it a success or a franchise that should have stayed in the early 2000’s?
From 2001 to 2025 Bridget Jones (Renee Zellweger) has managed to keep herself relevant and equally hilarious throughout her various romances and foibles. Yet it’s refreshing to end a film where her happiness is undoubted. The previous ups and downs of Mark Darcy (Colin Firth) and Bridgetâs relationship have left us hopeful for their future but with a frequent twinge of doubt. Though we cannot deny that Mr Darcy was the ultimate romance of her life, it’s reassuring to know that she doesnât settle for any less than she deserves, allowing herself to move on and accept happiness with another. What this heart-warmingly witty franchise has shown us is that men who want the best for women do exist, and the racy Mark Darcy is the epitome of this; we can guarantee a sigh of relief from him knowing his beloved Bridget can find happiness âjust the way [she is]â even though he is gone.
Through an up and down of emotions, the deaths of beloved characters, and the introduction of many new ones, what this film does well is bring in the old known characters. For the most part, it doesnât feel a forced âlets bring these back for old times sakeâ, with each character well integrated into the plot. It was nice to see the characters also remain fundamentally the same – physically they have changed but their large personalities we can definitely recognise. However, my favourite exception to this comes with Daniel Cleaver (Hugh Grant), the quintessential outrageous playboy, that should have left this behaviour behind before even Bridget came to our screens the first time⊠Though his sketchy romantic age preferences remain unchanging, his outlook on life has some level of his previous cynicism removed. A mid-film health crisis encourages him to reassess his way of living. With Bridget the only constant in his life, he realises how much more he is craving. It would be interesting though for us to have seen what may have happened in the interim between this film and the last. Bridget and Daniel’s relationship always seemed tumultuous; you would assume that Daniel’s cheating would lead to some long standing resentment, yet they seem to only become closer with age and time. Their friendship seems unparalleled as he steps into position of Uncle (not a particularly responsible one I must add).
‘And that my friends is how you make a dirty b*tch’
Grant, Hugh, Perf. ‘Bridget Jones: Mad About the Boy’, Universal Pictures, 2025. Film.
Important to note however is the change in vibe of this film from the originals of the early 2000âs, present also in âBridget Jones Babyâ. As the years progress the films travel from classic y2k rom com to much heartier and more wholesome. This most recent film in particular has you routing for the stable rather than the raunchy as we may have desired before. It is undoubted that Darcy was the one we should / wanted to be routing for, but that bad boy desire in us all, had us questioning whether Bridget could find a way to make the troublesome yet sexy Daniel Cleaver work. This is far from the case here; Bridget has been through so much we want to see her happy within stability, not with the instability of a youngster. My biggest criticism of âRoxsterâ (Leo Woodall) comes from his name itself. It is far too difficult to take seriously, yet perhaps this is meant to be metaphorical – we know Bridgetâs relationship here can therefore never be serious, as much as we may be led to believe in the possibility. Seemingly purposefully, his character has a large element of the cringe-worthy to it, but his charm and good lucks seem to allow the characters to over-look this. My favourite consistent attribute is certainly Bridgetâs knowledge of her self-worth- leaving Daniel when she knew he wasnât good and not letting Roxster back after his poor behaviour. It is an admirable (and sadly rare for female leads!!) trait to not settle for less, and a strong step towards feminist representation in movies. It is a shame therefore that it took until this film for Bridget to start to feel the same towards her looks, with the focus gladly being removed from her weight and how much she has drunk or smoked in that day. Â
As this moves away from some of the typicality of the 2000s romcom it successfully merges itself into modern feel good, with that same recognisable warmth. Yes, this is a tearjerker, but the overarching emotion is by far happiness, as we see Bridget, and ourselves, come out from this pain and find the happiness that is deserved. The cyclical ending, of the New Years Eve party, brings back Markâs continuing presence as we are drawn back to that first meeting between him and Bridget back in 2001. Bridgetâs emotional development here is increasingly profound, from only seeing Mark and feeling sorrow, it is Mr Walliker (Chiwetel Ejiofor) and the love he brings, that allows her to hold her memories of him with happiness, as such allowing her to move on and find a new happiness. By having their romance cemented with a kiss in the snow, paralleled with Mark, we get the sense that Mark is sending down his approval, and that this love will be true and lasting. As such, we watch the end credits roll with satisfaction and a strong sense of closure.