Bridget Jones: Mad About the Boy is a heartfelt farewell with a touch of hope
Bridget Jones finds love, laughter, and closure in a heartfelt final chapter filled with nostalgia, humour, and second chances.
Over two decades since we first met Bridget Jones, the beloved, hapless heroine has returned for one final chapter in Bridget Jones: Mad About the Boy. Directed by Michael Morris, this fourth instalment brings closure to Bridget’s journey with warmth, humour and a poignant look at love, loss and second chances. While it doesn’t quite recapture the chaotic brilliance of Bridget Jones’s Diary, it stands as the most emotionally resonant sequel, offering both nostalgia and a hopeful future for its protagonist.
The film finds Bridget (Renée Zellweger) in an unfamiliar place — widowhood. Having married the ever-reliable Mark Darcy (Colin Firth) and settled into family life, she is now raising their two children, Billy (Casper Knopf) and Mabel (Mila Jankovic), on her own, following Mark’s tragic death during a humanitarian mission in Sudan.
Four years later, Bridget is putting on a brave face, ensuring her children remember their father fondly while quietly struggling to keep her own life together. She’s still the Bridget we know and love — clumsy, awkward and effortlessly charming — but with a newfound maturity that makes her more relatable than ever. Her friends, ever the meddling but well-meaning bunch, encourage her to re-enter the dating scene, leading to a series of misadventures in modern romance.
A much younger suitor, Roxster (Leo Woodall), provides some fleeting fun, while the more serious option comes in the form of her son’s science teacher, Mr Wallaker (Chiwetel Ejiofor). However, it’s the return of Hugh Grant’s Daniel Cleaver, missing from the last film and presumed dead, that brings the film’s most heartwarming moments. His dynamic with Bridget has shifted over time, evolving into a deep, unexpected friendship that adds emotional weight to the story.
Zellweger slips back into the role effortlessly, balancing Bridget’s endearing quirks with a deeper emotional core.
Morris’s direction ensures the film never lingers too long in grief, maintaining the light-hearted, playful spirit that defines the franchise. The pacing, aided by sharp editing and a lively soundtrack, keeps the narrative moving, making even its more sentimental moments feel earned rather than overly saccharine.
While Mad About the Boy doesn’t attempt to reinvent the formula, it successfully delivers what fans desire — laughter, romance, and a sense of closure. It acknowledges that life rarely unfolds as expected but reassures us that new beginnings are always possible. If DVDs were still a household staple, this one would deserve a spot on the shelf.