Nurse Betty

In a small Kansas town, beautiful blonde waitress Renee Zellweger (as Betty Sizemore) enjoys watching her favorite soap opera "A Reason to Love" starring handsome doctor Greg Kinnear (as George "David Ravell" McCord). Following a tragedy, Ms. Zellweger traumatically imagines she is a character in the soap opera she adores. As if she was on the TV show, Zellweger wants to work as a nurse and romance Mr. Kinnear. Tied in with the tragedy, her criminal Kansas customers Morgan Freeman (as Charlie) and Chris Rock (as Wesley) follow Zellweger westward, looking for drugs...

This could have been brilliant...

Artfully directed by Neil LaBute, the story by John C. Richards, "Nurse Betty" almost works. We have parallel American dream stories. First, there is the longing of Zellweger for the seemingly unattainable world existing only in "Hollywood". Knocked out of her mind by violent reality, she begins to live her dream. In her delirium, Zellweger pursues TV star Kinnear, with whom she has an imagined relationship. While this occurs, a more subtle loss of mind is experienced by Mr. Freeman, who begins to fall in love with Zellweger's character. A violent old Black criminal fantasizes a relationship with a pretty young White woman. Even more daring is which relationship is given the go, and which one is stopped dead in its tracks...

Black comedy, indeed...

Also a problem is the characterization of Freeman's sidekick, essayed by Mr. Rock. The professional comedian is the least funny (and most dispensable) of the comedy's quartet. If his reason for being there is meant to soften Freeman's character, it doesn't work. Freeman is made more despicable due to his connection with Rock's completely unlikable character. Perhaps the goal was to pair up the accomplished actor with the abrasive comedian. Actors and comics are not always interchangeable. Rock is unable to nail it down. There is promise in Rock's performance, though. He can also look to Kinnear for inspiration; a failed reporter then funny talk show host, Kinnear should have a shelf of "Supporting Actor" awards.

******* Nurse Betty (5/11/00) Neil LaBute ~ Renee Zellweger, Morgan Freeman, Greg Kinnear, Chris Rock

LaBute's 'Nurse Betty' tells the story of a young housewife (and part-time waitress) in search of the man of her dreams. Sounds like another fluffy romance, no? Not quite! Her adulterous trash of a husband is scalped. Two hit men, a father who's about to retire and his son, are after her (the father happens to be in love with her). The man of her dreams is a character from a soap opera...she travels half the country just to be with him. Little does she know that it's only an illusion. Yes, it is a bizarre little comedy but fun nonetheless. Zellweger proves to be the perfect choice to play Betty. She delivers a very nuanced, comic and moving performance. Has Morgan Freeman ever gone wrong? He's just laugh out loud hilarious. Chris Rock too takes a chance playing the villain and does a fine job. Greg Kinnear and the supporting cast that includes Tia Texado, Allison Janney, Aaron Eckhart, Kathleen Wilhoite and Crispin Glover are all good. the soundtrack is beautiful and very romantic. It just adds to the surreal mood of the film. A lot of the film takes place on the road giving us glimpses of the beautiful American landscape and an adventurous feel. Towards the end, there's a beautiful scene between Morgan Freeman and Renee Zellweger (well I can't say what it's about without giving spoilers) which is the real turning point in Betty's life and the way that scene was presented amidst the chaos in the next room is amazing. 'Nurse Betty' is a sweet film that dares to go against the usual standards of American comedy. There are some very graphic scenes of violence and there's the element of suspense as the father and son track down Betty. Yet, it manages to stand as an adventurous comedy that is uplifting and brings a smile.

There's much to enjoy here if you like movies because of the actors. I was attracted to this film because of Morgan Freeman and Chris Rock who always deliver, but there's also great acting from the rest of the cast, most notably Zellweger but Kinnear is also perfectly casted as is the rest, no exceptions. All a joy to watch.

And then there's the offbeat plot with a woman living in a fantasy of being a soap character that takes over her life and makes her forget that she was just a waitress in Kansas with a cheating husband who got killed in front of her eyes by hitmen. Sometimes I thought the movie was thrown way off balance with the sudden bloodshed but most of the time it was a very warm film. It was the wonderful, strange mixture between cold reality and movielike fantasy that made it interesting. It's good for a couple of dosed laughs but I would classify this as a tragic comedy with a relatively happy and satisfying ending, tho it may be cheap to some. Funny thing is, as life can be stranger than film, all in the movie could in theory happen! And the focus is still very much on human emotions so in that way the movie is still down to earth.

Better than I expected, this film rules, can't get enough of Morgan or Chris but really everybody did a great job making this film.

8 out of 10

This is an adorable, if somewhat edgy, comedy from a clever and witty script by John C. Richards, crisply directed by the very talented Neil LaBute, proving that he can handle comedy just as adroitly as he can the art house movie.

Renée Zellweger stars as Betty Sizemore, a sort of Doris Day of the 21st century, a waitress from Kansas whose fantasy life centers around Dr. David Ravell (Greg Kinnear), star of a TV soap opera called, "A Reason to Live," to such a fanatical degree that she has memorized lines from the show after watching the tapes over and over again. (This will come in handy later on.)

Morgan Freeman and Chris Rock play a father-son team of cocaine-dealing hit men who ignite the premise of the movie by murdering Betty's slimy used car salesman husband, played by Aaron Eckhart, who starred in In the Company of Men (1997), also directed by Neil LaBute. Chris Rock is a comedic psychopath, and Freeman a fatherly murderer whose favorite dictum is "three in the head, you know they're dead." One of the amazing and characteristic things about Morgan Freeman is that even while playing a professional criminal, he manages to sound like the wisest, gentlest man you ever knew.

True, the plot relies heavily on co-incidence (Betty copping the keys to the Buick that just happens to have the goods in the trunk), precise timing (meeting Dr. David and entourage at exactly the right moment), and some questionable psychology (Betty's partial and convenient amnesia). But such contrivances should be written off as poetic license and ignored. After all, who would criticize Shakespeare for the tortured plots of his comedies? More significantly, what makes this work is the cleverness of the plot melded well with the personalities of the characters (while gently satirizing them), and some very funny dialogue. My favorite line is when Freeman, looking gravely at a picture of the disappeared little miss Nurse Betty, soberly remarks to Rock, "We may be dealing with a cunning, ruthless woman here." I wonder, could it be that some of the pseudonymous (and humorless) reviewers who trashed this movie here and at IMDb are jealous, out-of-work screen writers?

An observation and a question: Renée Zellweger has the kind of on-screen presence to delight the most jagged heart. And who really is the reigning queen of contemporary filmland comedy, Zellweger or Reese Witherspoon? They are both brilliant. Witherspoon is a little more over the top while Zellweger is more impish. It would be interesting to see them trade roles, say, Zellweger as goody-goody A-student Tracy Flick in Election (1999) and Witherspoon as Nurse Betty. Too bad something like that can't be done.

Incidentally, the song, "Ca Sera, Sera" heard in the background won an academy award for best song in the Hitchcock thriller, The Man Who Knew Too Much (1956), starring James Stewart and Doris Day. The reason it reappears here is not entirely clear, but the resemblance of the wonderfully naive Nurse Betty to the on- and off-screen Doris Day (who also had a hit recording of "Ca Sera, Sera,") goes beyond the strawberry blond hair to a kind of irrepressible innocence. In Nurse Betty, however, the Doris Day world of white picket fences and monogamy is given a contemporary spin. Although this is to some extent a romantic comedy, it is one in which the answer to the question, Who gets the girl? is one never seen in a Doris Day flick.

Bottom line: if you can watch this without laughing old loud and crying some real tears, you need to get your hard drive fixed.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Nurse Betty (2000)

This is a sleeper, a dark comedy with enough inventive twists to call to mind The Truman Show but with a greater sense of reality to hold it down. Renee Zellweger is flawless as the naive, sweet, but utterly detached young woman named Betty who is addicted to a soap opera called "A Reason to Love." This seems sweet enough, but her husband is a jerk (totally) and things start to spiral, and get dizzy, as reality even for the viewer starts to shift ground.

Not that you are ever confused about what is happening or who the good guys are. The good guys are not Morgan Freeman and Chris Rock, for sure, as this unlikely and comedic father and son duo get involved, incidentally at first, in Betty's strange inner and outer life. A chase of sorts ensues, the soap opera becomes reality, and then reality becomes soap opera. And it's really hilarious and inventive and fast paced.

Is it a total work of genius? Probably not. Maybe Charlie Kaufman would have added another twist in there (I'm not sure how), and certainly some of the side characters could have seemed less cardboard, or less awkward as actors. But Zellweger is unbelievable (really, your jaw might drop at how convincing she could play her mental blindness, and her awakening, of sorts). And Morgan Freeman is his usually convincing and engaging self.

The utterly disgusting violence of one 20 second scene might turn off some viewers near the beginning, but if you can keep watching, the movie gets better from there. Much better.