There’s something sickly enjoyable about the new Bridget Jones
Film review
The new Bridget Jones film kicks off as if we were watching an IKEA commercial as Bridget frantically tries to control a hectic single-mom household captured by cinematography with no art to it. This was a bad starting point with no signs that it would improve with cheap gags, and an edge of fluffiness within the first fifteen minutes. But surprisingly we travel on an uphill trajectory once Bridget is thrust on a mission to find a new man. You suddenly begin to feel that there’s something sickly enjoyable about all the elements that left a bad taste in your mouth prior to settling into the experience.
Bridget is set up on Tinder to find love as a widow, however, the man she’s been searching for appears in front of her eyes on Hampstead Heath as he offers to help her children get down from a tree. Fascinated by this new prospect of shagging someone twenty-two years younger, there’s also a different kind of tension growing between her and the children's science teacher.
There’s a certain magic to Briget Jones that could even seduce a serious cinephile into falling for it. There is no obvious formula or explanation as to why it has this effect, but there's a charm that creates a sense of comfort within the spectator. This charm can even allow you to forgive moments where boredom exists. It also allows you to accept the numerous events that don’t quite match the expectations of reality because what you’re witnessing is enjoyable.
An example that springs to mind is a scene taking place at a garden party where Bridget accidentally drops a miniature dog into the pool and her toyboy appears from nowhere, jumps in to save the poor thing who isn’t exactly drowning. Walking out of the pool dripping wet with the dog cradled against his muscly torso, spectators gorp at this beautiful stranger who then takes Bridget in his arms and lays a dramatic kiss in front of her envious friends. This scene is a bit ridiculous and exaggerated, but it’s entertaining and amusing, and that’s all that is required sometimes.
This is a classic stay-at-home on-the-weekend film, however, it’s not perfect. An hour-and-a-half run time would have hit the sweet spot rather than having it drag to a two-hour runtime. There’s still unfinished business that needs to be addressed at what would be the desired sweet spot, but the comfort and satisfaction turn into impatience as we wait for loose ends to be tied up. The loose ends being the most uninteresting aspect of the story. Conveniently mirroring the opening of the film, you’re again reminded of the low-calibre artistic elements as the near-end resembles a John Lewis Christmas ad. However, you’re only reminded of the faults as the story weakens its grip on you. It’s a fine reminder that ultimately what saves a feature-length film is story, and Bridget Jones just slightly misses the mark of ensuring your engagement lasts until the end.
Out in UK cinemas now