Bridget Jones: Insanely about the Boy Review – our unfortunate heroine is sharper, smarter and fun Films

THere is something that grows up and older next to a fictional character. Especially if, in contrast to the aspiration barbies of sex And the cityThis character may show the inevitable wear of a middle -aged mother. Check in with familiar faces – Jesse and Celine by Richard Linklater’s Before Films, for example; Or in this case, Bridget Jones and her indecent band of alcohol buddies somehow feel appreciated when these faces reflect the same rough and difficult times that we all endure.

It was almost a quarter of a century since Renée Zellweger stumbled onto our screens for the first time when the Gauche, accident -prone Klutz Bridget Jones. And together with the core friendships that define us, our relationship with the character has developed and deepened. The Bridget of 2001 by Bridget Jones’ diary Was an unsafe hot chaos that was driven by the Precium size of Hauswitthuhn (or “Party Petrol”, as Sally Phillips’ Shazza Pithily describes it). Today’s bridget has reached its happy-ever-fetter fairy tale end. She married Mark Darcy (Colin Firth), had two delightful children and hardly moved a distance of a yoga mat from Hampstead Heath, just to get everything away. Mark, we learn, was killed in Sudan during a humanitarian mission.

Four years later, Bridget is older, smarter, sharper, funnier and slightly less dependent on Pratfall to make laughs. All of this means that this, the fourth film in the series, which is based on Helen Field, is the most satisfactory and unexpectedly touching Jones outing since the first film.

British director Michael Morris, known for the American indie drama After Lesliewhich brought in an Oscar nomination for Andrea Rishborough, takes over the reins of Sharon Maguire’s franchise (Bridget Jones’ diary; Bridget Jones’ baby) and Beban Kidron (The edge of reason), Demonstration of Slick -Comic -Timing and an affinity for Bridget’s brand combination from the highest awkwardness and stupid extra version. This is a woman who has never seen a lonendell Christmas tree decorations that could not be implemented as a few earrings. Here she puts a brave face in her grief and records her two children to appreciate her father’s memory, but not to be overwhelmed.

The children thrive, give or take a bit of young people afraid, but Bridget looks like she showered in gin, if she showered at all, spends most of the day in her pajamas and hardly holds it together. The hideous editing and the excited camera of the film record the panic on a low level and the hardly controlled chaos to lead the daily life of two eccentric primary school children. A PEP lecture by her gynecological gynecologist from her non-nonense gynecologist (a wonderfully acidic application by Emma Thompson) causes Bridget to work again as a TV producer on a chat show (the film gloss). A well-meaning friend puts a tinder and brings Bridget to the apps and back to the dating pool.

One of the romantic options is the much younger Roxster (Once‘S Leo Woodall, who enables himself to be playfully and really objectified in the name of the comedy). Then there is Mr. Wallaker (Chiwetel Ejiofor), Bridget’s son Billy’s new natural sciences teacher. Mr. Wallaker is intimidating outdoors and likes fascist whistleblowing and bark orders for young children. But there is a spark between the Bridget and the teacher who is inflamed during a rain -drawn, outward -bound trip.

However, while we have invested in the idea that Bridget gets their second chance of a happy ending, it is more of the returning characters of the film than the new ones who deliver heart and humor. Most are welcome Hugh Grant’s refinement Daniel Cleaver, who was missing for most of the last film, 2016. Bridget Jones’ baby. It is a role, but the grant is so easy to wear the script (through Fielding, Dan Mazer and Abi Morgan) is smart enough to let Daniel grow and even let something mature as a character. A scene in which he thinks on her permanent friendship grabs an unexpected emotional Valaop.

Not everything flows. They suspect that a subplot could have been lost on the way: Isla Fisher is introduced as a glamorous neighbor, whose no-fucks-given parent style bridget admires from afar. But then Fisher disappears from the film so that they will never be recognized again. It is a strange decision that disturbs the storytelling a little. For the most part, this reunion with Bridget is a joy. Like a large old glass pub wine, it may not be particularly complex or sophisticated, but my goodness hits the place.