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(More customer reviews)A young waitress in a small town in Kansas witnesses an act of violence so unspeakable that her mind refuses to accept it; instead, like a ray of light reflected through a prism, she takes a detour within herself and enters a reality in which things are just a little bit better and nicer, one that fuses with the world of her favorite soap opera wherein resides the "doctor" of her dreams. Renee Zellweger stars in "Nurse Betty," a satirical comedy/drama with some serious psychological overtones from director Neil LaBute. It's an objective look at, among other things, small town life, the aesthetics of professional hit men, an unhealthy (?) obsession with soap operas, and the ethics of car salesmen. One thing is certain: After the aforementioned incident, Dorothy isn't in Kansas anymore. And her story becomes an odyssey of sorts, one that is both exhilarating and hilarious, and by turn somber and disturbing. Since those with whom Betty comes into contact do not realize that she is dwelling within a reality of her own design, it creates moments of absolute side-splitting hilarity as they try to figure out what is going on with her; is she putting them on, or is she in fact, deranged? But at the same time, even as you're laughing, there is an element of discomfort about it, because you know the truth of it all, and what a sad and serious situation it really is. You feel, not only for Betty, but for all of those involved with her as well, and it's like manic depression; you ride the wild highs, but come down just as hard. As Betty, Renee Zellweger gives what just may be the best performance of her career; there is such a gentleness of nature about her, a winsomeness and pacificism that makes her such a wonderfully sympathetic character. Early in the film LaBute establishes what kind of a person Betty is; she's easy to like and someone you care about instantly, someone you want to see good things happen to. And it makes the impact of the violence with which she is visited all the more profound (and be advised, the scene is shockingly reminiscent of the torture scene in "Reservoir Dogs;" somewhat graphic, but because of excellent directing and editing, you get the illusion of seeing more than you actually are. It is definitely one that you will not soon forget). These are things that should not happen to someone like Betty; it just doesn't seem fair somehow, and the connection that she makes with the audience underscores what a brilliant job Zellweger has done. Equal credit, of course, has to go to Neil LaBute, for creating the perfect atmosphere through which the desired results are so impeccably delivered. The serene, almost lilting essence of Betty's reality, this kind of "Pleasantville" into which she has entered, contrasts so vividly with the thread of violence and menace laced throughout that it heightens the emotional response to it all. He has successfully managed the perfect balancing of the pure with the despicable and enhanced it all with pace, timing and some memorable performances. Besides Zellweger, Morgan Freeman is outstanding as Charlie, the aging hit-man out to finish one last job before retiring. He brings a commanding demeanor to the role, coupled with a maturity and intelligence that adds so much to the depth of the character. And Greg Kinnear, as Dr. David Ravell/George McCord, gives a definitive performance as the soap opera star of Betty's dreams. It is a character Kinnear was born to play and he covers all the bases, leaving no doubt as to just exactly who and what this guy is all about. Notable performances also are turned in by Chris Rock, as Wesley, Charlie's protege; and by Aaron Eckhart, as Del, Betty's sleazy, neglectful car salesman husband. Rounding out the supporting cast are Tia Texada (Rosa), Crispin Glover (Roy), Pruitt Taylor Vince (Ballard), Allison Janney (Lyla) and Kathleen Wilhoite (Sue Ann). Rarely are there so many truly memorable performances in a single movie, and again, LaBute must be given credit for bringing out the best in his actors; it adds a polish to the finished product that is inestimable. Another reason for the success of this film is that the humor is natural and true; rather than being forced or contrived it issues from real situations and the characters reactions to them, and LaBute plays everything straight, which makes it all real. The laughs (and there are many) are born of their own merit; each one is honest and earned. And again, because of that purity of delivery, it makes the drama all the more effective. Well made and delivered, "Nurse Betty" is highly entertaining and certainly memorable; a funny, emotional movie that will have you alternately gasping and cheering. Check this one out; it's a motion picture experience you do not want to miss.
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A frenzied, screwball comedy with a lighter-than-light touch, "Nurse Betty" is a radical departure for director Neil LaBute, who helmed the vitriolic "In the Company of Men" and "Your Friends and Neighbors". Betty (Ren?©e Zellweger) is a perky Kansas waitress whose sole happiness comes from her obsession with the television soap "A Reason to Love", starring dreamboat doctor David Ravell (Greg Kinnear). When her slimy car-dealer husband (Aaron Eckhart) enters into a drug transaction thatgoes horribly awry, Betty inadvertently witnesses the carnage and, in shock, becomes Nurse Betty, determined to reunite with her long-lost love, Dr. Ravell. Tailed by two hit men (Morgan Freeman and Chris Rock), Betty heads to L.A. a determined woman, unaware she has their huge drug stash in tow. Though it takes a good half-hour to get going, once LaBute and the movie hit top speed, it's a surreal, often brilliant ride, as Betty's fantasy and reality collide, with unexpected ("really" unexpected) developments. The screenplay (by John C. Richards and James Flamberg) is wickedly inventive, and like his previous films, LaBute has assembled a peerless cast. Zellweger is charming and daffy in her best performance since "Jerry Maguire", and Freeman is by turns menacing and touchingly romantic in his obsession with Betty. Kinnear is the epitome of self-serving shallowness (and makes us love him all the more for it), and Rockfinally shakes his standup persona and emerges as a great comic actor. Look alsofor a scene-stealing Allison Janney as the producer of Kinnear's soap. Most movies rarely get such talent operating at full capacity, and "Nurse Betty" soars because of it. "--Mark Englehart"
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