Bridget Jones: Mad About the Boy is the fourth film in a franchise that began in the 2000s with the friendly Bridget Jones's Diary. Since then, the franchise has gained two other features that never reached the good level of the story of a British woman in her early thirties who tries to find the love of her life while writing a diary. This is so far: the fourth chapter of the saga is the one that comes closest to the quality of the first film, mainly because it takes more risks and brings complex themes to the fore, such as grief, solo motherhood and a middle-aged woman trying to find her space. The protagonist, Renée Zellweger, remains difficult to swallow -- the faces and mouths only worked in the first film, and look. But you can have fun and revisit the story of this character who is already part of the imagination of romantic comedies.
Mickey 17 is a comedy and science fiction film directed by Bong Joon-ho, the Oscar-winning director of Parasite. Based on the novel Mickey7 by Edward Ashton, the plot is set in a dystopian future where humanity is colonizing other planets in missions sponsored by politicians and corporations. Desperate to leave Earth, Mickey (Robert Pattinson) takes a job as an "expendable": a person sent on suicidal tasks to die, be cloned with his memories intact, and return to work. When two clones of Mickey accidentally coexist at the same time (something forbidden in the colony), they must keep their existence a secret while trying to stop the plans of the authoritarian government they live under. As with other Bong Joon-ho films, Mickey 17 delivers a sharp critique of inhumane practices and economic inequality in a capitalist system taken to its extreme (also using dark humor, as in Okja). However, it tries to cover too many subplots and themes, relying heavily on devices like flashbacks and voiceovers to explain much of the story. It's far from the heights of Parasite, but it’s hard to look away from the eccentric Robert Pattinson on screen, keeping things highly entertaining. It's not Bong Joon-ho’s best film, but it certainly has more to say than the typical Hollywood blockbusters today.
